Graphic Design Solutions

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PUBLICATION DESIGN: COVERS AND INTERIORS

FIG. 8 /20

BOOK COVER AND INTERIOR
PAGES: SEVENTY-NINE SHORT
ESSAYS ON DESIGN BY MICHAEL
BIERUT

• DESIGN: ABBOTT MILLER/PENTAGRAM
• PHOTOGRAPHER: JAMES SHANKS
• CLIENT: PRINCETON ARCHITECTURAL

PRESS

8-20, for example, Michael Bierut’s Seventy-Nine director’s favorite typeface); the rationale behind FIG. 8 /21
Short Essays on Design is text-based. Pentagram’s other selections may be a bit more obscure, or
blog states: “While the book has no pictures, even completely nonexistent.” BUILDING LETTERS
Abbott Miller’s design provides its own form of
visual interest. Each essay is set in a different For Figure 8-21, Building Letters, Filip Blažek • DESIGNER: FILIP BLAŽEK
typeface, and readers can attempt to make real kept the layout simple to allow the images to • COVER ILLUSTRATION: DONALD BEEKMAN
or imaginary connections between essay subject come off the pages. Blažek comments, “The • CLIENT: BUILDING LETTERS
and font selection. We can guess why the essay on design of the magazine was inspired by Building • HTTP://WWW.DESIGNIQ.EU/BUILDING-
AT&T is set in C.H. Griffith’s Bell Gothic (it was Letters 2 designed by Sumo Design. I used similar
designed in 1938 for the Bell Telephone Direc- colors and the same size, but everything else is LETTERS-3
tory) or why the essay about Stanley Kubrick is different. The only font used for all texts is Bot-
set in Paul Renner’s Futura (it was reportedly the anika by Czech typographer Tomásš Brousil; the The job was done for free and
bright process colors should attract designers and all the profit from the sale of
the magazine goes directly to a
charity organization. It was a great
opportunity to work together with
well-known designers.

—Filip Blažek

CASE STUDY
DESIGN OF THE WORKS: ANAT OMY OF A CIT Y BY KATE ASCHER/
ALEXANDER ISLEY, INC.

For this heavily illustrated book, The Works: and illustrators and, over the course of six hectic
Anatomy of a City, by Kate Ascher, Alexander months, produced what we consider to be a once-
Isley says his team “worked with Kate Ascher to in-a-lifetime project. (At least that’s what we kept
organize her research material. We initially pre- telling ourselves as we put yet another late night
pared a rough layout of every page and illustration or weekend into the endeavor.)”
(over 140 in all) so that Kate could write the text
to correspond to the imagery. We then worked You can also see the development process for
with our assembled team of talented designers this book design in the accompanying figures.

DEVELOPMENT AND FINAL IMAGES
FOR BOOK COVER AND INTERIOR
PAGES: THE WORKS: ANATOMY OF
A CITY BY KATE ASCHER

• ALEXANDER ISLEY, INC., REDDING, CT

• CLIENT: PENGUIN PRESS, NY

This book is a lavishly illustrated look
at the infrastructure of New York City:
How the subways operate, where the
sewage goes, how cellular service
works, why those crosswalk buttons
never seem to operate, what’s
considered the “Avenue of Death,”
and what’s a hump yard?

—Alexander Isley, Inc.

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PUBLICATION DESIGN: COVERS AND INTERIORS

P. 206 Chapter 0 8

FIG. 8 /22 typographers, since it is a magazine written by magazine into the new format, maintaining the
them for them.” basic grid structure—that Armin had previously
CREATIVITY MAGAZINE implemented with Michael Bierut at Pentagram
› Identify serial components. Sections or columns when they redesigned the magazine in 2006—
• UNDERCONSIDERATION LLC, AUSTIN while modifying the typographic and visual lan-
• ART DIRECTION: BRYONY GOMEZ-PALACIO, recur from edition to edition. For example, The guage to reflect a more sophisticated look.”
New York Times offers a weekly Science section
ARMIN VIT and a daily Sports section, as well as daily Edito- To help you identify serial components,
• DESIGN AND EXECUTION: JEANINE DUNN, rial and Op-Ed pages. In Figure 8-22, you can determine:
see Creativity magazine’s various sections and
CREATIVITY serial components that had to be considered in › Volume of content
• EDITOR: TERESSA IEZZI the redesign. Bryony Gomez-Palacio and Armin › How much content will change from edition
• CLIENT: CREATIVITY Vit comment about this on their UnderConsid-
eration blog: “Creativity magazine, a monthly to edition
The redesign maintains the eclectic publication from Crain Communications, brings
typographic combination of Matthew together information and visuals of the most rel- › Sections and sequence
Carter’s Bell Centennial, Robert evant work in advertising and design from around
Slimbach’s Minion, and a customized the world. With their May 2008 issue the publica- Editor Richard Stengel’s comments about the
version of John Scheppler’s Orator, tion underwent a physical transformation, taking redesign of Time magazine, shown in Figure 8-23,
but has shifted the balance to it from an oversized 11 × 14.5 inches to a smaller, offer great insight into the requirements and goals
feature bigger and bolder headlines but still commanding 10 × 12 inches and shedding of an iconic magazine design, or any magazine for
in Minion and using the other two its saddle-stitching in favor of perfect binding. that matter:
typefaces for details and emphasis. UnderConsideration was in charge of segueing the
We also introduced a new format Every issue of TIME tells a larger story about the
to present the detailed credits that world we live in, and we wanted to create a design
each project requires, while allowing that would best present that story. . . .The magazine
the visuals to appear bigger, and
even meaner.

—www.Underconsideration.com

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PUBLICATION DESIGN: COVERS AND INTERIORS

FIG. 8 /23

PROJECT: TIME MAGAZINE

• DESIGN: LUKE HAYMAN/PENTAGRAM, NY
• PHOTOGRAPHER FOR REAGAN COVER: DAVID HUME

KENNERLY
• CLIENT: TIME, INC.

In 2007, TIME underwent a major redesign
developed by Pentagram’s Luke Hayman
with TIME’s managing editor Richard Stengel
and art director Arthur Hochstein. Hayman
explains that “the magazine has been
modernized . . . but it still has the TIME
‘DNA.’ We deliberately chose fonts and
design elements that echo classic TIME
magazine.”

Paula Scher, who collaborated on the
redesign prototype, provides additional
insight: “We created a system that we
thought would resonate with today’s readers.
It’s full of quick bits and relevant info, but
still retains the spirit of TIME. We used the
display typeface Franklin Gothic that was
part of the history of the magazine, and
revisited the grid used by Walter Bernard,”
the legendary editorial designer.

—http://blog.pentagram.com/2007/03/
new-work-time-magazine.php

P. 208 Chapter 0 8

FIG. 8 /24 has been organized into four clearly defined sections— toward smaller trim size, fewer pages, or both. For
Briefing, The Well, Life and Arts—to help read- REVERB, a 120-page anthology of sustainability
BOOK: REVERB ers navigate the content and provide the magazine (Figure 8-24), “in response to the immediacy of
with a stronger structure. The sections are sign-posted the pieces, Tricycle’s in-house design team cre-
• TRICYCLE, INC., CHATTANOOGA through the use of bold headlines. (http://pentagram ated a book that is itself an experiment in form;
.com/blog/2007/03/new-work-time-magazine.php) cut to three sizes including a textbook, a flipbook,
• CREATIVE/ART DIRECTOR: R. MICHAEL or full-size integrated design, REVERB’s graph-
HENDRIX › Identify the optimal format and trim size. If the ics and layouts react and respond to the content
of the pieces.”
• DESIGNERS: BEN HORNER, NICK DU PEY, publication’s format is your decision, decide on
INGRID DYSINGER the best format and trim size for the content and GRID FOR EDITORIAL DESIGN
audience. Books and magazine sizes have become
• EDITOR: CALEB LUDWICK increasingly standardized; for example, in the A grid for a publication provides a system for
United States, 8" × 11" is a standard size. There ordering content that can lend both clarity and
• CONTRIBUTING WRITERS: HOLLEY are larger size formats as well as experimental visual interest for the reader and can ease design-
HENDERSON, MK TIMME, CAMERON formats. For economic and ecological reasons, ing and compositing for more than one designer
SINCLAIR, CARLIE BULLOCK-JONES, newspapers and magazines have been moving and production team, as in Figure 8-23. Once
NADAV MARLIN, MAIRI BEAUTYMAN, KATIE you’ve identified the content components, start
WEEKS, BILL GRANT, MELISSA MIZELL, with the format. The trim size (actual size of a
CALEB LUDWICK book page after excess paper has been trimmed
during production) and proportions of the for-
• SPONSORS: AQUAFIL USA, DUSK, mat will help you best design the grid. For the
MOHAWK FINE PAPERS, SUMMIT anatomy and basic grid principles please see
GRAPHICS Chapter 6, Composition.

• © TRICYCLE, INC. Many reference books contain sidebars, case
studies, and projects, which are serial compo-
Eleven eco-consultants, commercial nents. For each section of Trout and Salmon of
designers, and editors contributed North America, Charles Nix needed to design an
essays on topics ranging from overview of the species; a sidebar summarizing
educating clients about green physical information; and a description of the
choices and integrated design to fish and its biology, distribution, evaluation, clas-
this anthology of sustainability. sification, and conservation requirements (Figure
8-25). Specific kinds of nonfiction books require
REVERB was printed on 100% planning several components of information on
post-consumer waste recycled a page or spread; for example, in Figure 8-26, a
paper, and produced as an cookbook designed by Lowercase Inc., each rec-
FSC certified book. Thanks to ipe requires title, description, ingredients, prepa-
the generous donations of the ration method, and image.
contributors, 50% of the sale of
every book went to Architecture There are two basic grid options:
for Humanity raising approximately
$3,000 for humanitarian relief. › Modular grid: The main functional benefit of a
Because it is out of print, the book
is now available online as a PDF modular grid is how information can be chunked
at http://www2.tricycleinc.com/ into individual modules or grouped together into
reverb/. zones. When designing heavily illustrated con-
tent, a modular grid offers the most flexibility.
—Tricycle, Inc. When designing moderately illustrated content,
a modular grid can accommodate one column for
running text (body of writing). Many designers
believe a modular grid is most flexible, allowing
for greater variety.

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PUBLICATION DESIGN: COVERS AND INTERIORS

FIG. 8 /25 FIG. 8 /26

BOOK COVER: TROUT AND SALMON OF NORTH BOOK COVER AND INTERIOR PAGES: WORKIN’
AMERICA BY ROBERT J. BEHNKE, JOE TOMELLERI, MORE KITCHEN SESSIONS WITH CHARLIE TROTTER
AND DONALD S. PROEBSTEL BY CHARLIE TROTTER, SARI ZERNICH, JASON
SMITH, AND PAUL ELLEDGE
• ART DIRECTOR/DESIGNER: CHARLIE NIX
• CLIENT: FREE PRESS • LOWERCASE, INC., CHICAGO
• ART DIRECTOR/DESIGNER: TIM BRUCE
• CLIENT: TEN SPEED PRESS

P. 210 Chapter 0 8

FIG. 8 /27 › Column grid: A column grid can be very flex- › Whether you will break the grid and how
› Text to image relationships
BOOK COVER AND INTERIOR ible and works well for running text. Depend-
PAGES: AMERICAN CITY: DETROIT As with all graphic design, spontaneous com-
ARCHITECTURE 1845–2005 BY ing upon the size and proportions of the format, position comes into play even when utilizing a
ROBERT SHAROFF AND WILLIAM grid. For the most part, you can adhere to the grid
ZBAREN determine the number of columns and whether alignment and break the grid to allow for visual
interest, the importance of the image, for a detail
• LISKA + ASSOCIATES, INC., CHICAGO AND columns can be combined to accommodate head- that needs to be seen, for example, or to bleed an
NEW YORK illustration or run an illustration into the gutter.
ers and large visuals or divided to accommodate It is best to never break the grid arbitrarily, for
• CREATIVE DIRECTOR: STEVE LISKA example, bleed an illustration rather than ending
• DESIGNER: VANESSA REU captions and smaller visuals. A column grid can it in the margin.
• CLIENT: WAYNE STATE UNIVERSITY PRESS
• © LISKA + ASSOCIATES, INC. also be designed with dedicated columns for text FLOW AND VARIATION

American City showcases the rich and large visuals. Columns can be even or uneven A grid is used to create a cohesive structure as well
architectural history of Detroit. as a visual flow across pages, whether it is across
Editorial content of the book depending upon content and function. a spread or throughout the publication. Just as in
describes the economic, social and a popular song, where the listener hears parts of
cultural context that fueled decades When making your grid determination, con- the song repeated, relying on those components
of tremendous investment in fine for continuity and coherence, so does a reader
architectural design. The heart of sider the following: rely on the underlying structure of a publication.
the book is the photography that However, strict adherence to a grid without some
visually communicates the grandeur › Column width to ensure readability of running structural variation and visual cues to alert the
of the city. Liska designed the book reader to changes among parts of the publica-
to include 90 full-bleed images text (too long or too short line lengths inhibit tion would detract from readability. The lack of
accompanied by detailed captions.
Now in its third printing, American readability); experiment with type sizes fitting
City has also inspired a traveling
photo exhibition based on the into the column width
book as well as a second book,
American City: Saint Louis, now › Column width for illustrations
being produced. › Margins to accommodate column width, side-

—Liska bars (see Figure 8-17, Birds of the World), call-

outs, folio, footnotes

› Gutter measure
› Bleeds (in Figure 8-27, to showcase the rich

architectural history of Detroit, Liska + Associ-

ates included ninety full-bleed images accompa-

nied by detailed captions)

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PUBLICATION DESIGN: COVERS AND INTERIORS

variation would become tiresome and not create DESIGNING STANDARD
distinction among the component parts. COMPONENTS

Cues to content change are important; they can Most publications have standard elements or
be established through color, template, or grid component parts, such as those diagrammed at
variation, or color or typographically. Giving the the end of this section. Once you have settled on
reader distinct signals enhances communication, a grid, you need to build a visual and informa-
facilitating comprehension. Similarly, creating tion hierarchy to ensure clarity, readability, and
distinction among the publication’s component rhythm. In Figure 8-28, a spread for The New
parts facilitates use. York Times Magazine, the right-hand page is a
full bleed illustration by Christoph Niemann, bal-
Creating Variation anced by the left-hand page where we enter the
Designers utilize several methods to create graphic space via the title, “2011.” Then we read
variation. the subtitle of the article, followed by the author’s
name, move to the first column, rest at Niemann’s
› Syncopation: Employ two or three alternating name in blue, and finally read the second column
of text. The white spatial intervals between “2011”
grids. and the subtitle, between Niall Ferguson’s name
and the columns, and between the end of the sec-
› Section function: Each section of the publica- ond text column and Niemann’s name all add to
balancing and corresponding to the illustration on
tion has its own grid or the same (flexible) grid the right-hand page.
is used but zoned differently for each section.
Alternatively, each section is denoted by color cue Using typography well—headers and subheads
or type of illustration or the relationship of text and display typefaces—you can organize and
versus illustration. structure large amounts of content into manage-
able “chunked” sections, distinguishing content,
› Column reversal: Same grid but the running to clarify and improve readability, as well as aid-
ing visual flow and rhythm. Depending upon the
text column and illustration change positions nature of the content and publication, sound bite
from spread to spread.

› Spread reversal: Same grid but the running text

and illustration change from recto (right-hand
page) to verso (left-hand page), and vice versa, in
some syncopated pattern.

FIG. 8 /28

MAGAZINE SPREAD: “2011”

• THE NEW YORK TIMES MAGAZINE
• CREATIVE DIRECTOR: JANET FROELICH,

THE NEW YORK TIMES MAGAZINES
• DESIGNER: NANCY HARRIS ROUEMY
• ILLUSTRATOR: CHRISTOPH NIEMANN

SHOWCASE
CARLA FRANK

C.F. Carla Frank is a visionary creative director special- the SPD gala and the Art Directors Club (ADC)
izing in content development, design, branding, student portfolio show.
“TEA & EMPATHY” product positioning, management, and education.
Frank has held a staff position at the School of
• ALL IMAGES COURTESY OF O, THE OPRAH As the founding design director of O,The Oprah Visual Arts and has been a guest lecturer at Pratt,
MAGAZINE Magazine, Frank helped create the most success- International Center of Photography (ICP), and
ful launch effort in the history of the magazine Fashion Institute of Technology (FIT). She has
• DESIGN DIRECTOR: CARLA FRANK industry. Frank has worked for numerous pub- also been a key speaker and presenter for various
• ART DIRECTOR: SUZANNE NOLI lications during her career including Condé Nast conferences and professional gatherings. Frank’s
• DESIGNER: ALBERT TOY Traveler Magazine, where she was the art direc- work has received numerous awards from design
• PHOTOGRAPHER: GENTL & HYERS tor for more than three years. Prior to that, she organizations and has been the subject of several
• PUBLICATION: O, THE OPRAH MAGAZINE freelanced for publications such as The New York magazine articles.
Times Magazine, Entertainment Weekly, Time, and
many more. Before moving to New York in 1994, Personally, Frank travels at every opportunity,
Frank was the principal of her own design firm which fuels her love for shooting street and travel
located in Baltimore, MD, which specialized in photography. She feels the expansiveness of travel
content and product development, publication and culture is invaluable to her general sense of
design, packaging, corporate identity, and retail interconnectivity to the world and global markets.
exhibitions for a variety of clients.
INTERVIEW
Carla Frank received her BA degree from
Pennsylvania State University, where she was What made you realize you wanted to be a cre-
recently honored with a Distinguished Alumni ative professional?
Award. She has been extremely active in her
profession, serving on the board of directors for I’d always been in the arts, tapped into an hon-
the Society of Publication Designers (SPD) for ors program at an early age as a fine artist. . . .
four years, where, among other things, she co- This may sound silly but I always loved the fact
authored Solid Gold: 40 Years of Award-Winning that in rather serious businesses there was often
Magazine Design. She has been a chairperson for a room with a door that had a sign labeled “The
Art Department.” I wanted to be in there!

“TARZAN”

• DESIGN DIRECTOR: CARLA FRANK
• ART DIRECTOR: TED KELLER
• PHOTO DIRECTOR: JENNIFER CRANDALL
• DESIGNER: TED KELLER
• PHOTOGRAPHER: JONATHAN BARKAT
• PUBLICATION: O, THE OPRAH MAGAZINE

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What advice would you offer an aspiring art “MEN”
director or graphic designer?
• DESIGN DIRECTOR: CARLA FRANK
I think you always have to remember that you • ART DIRECTOR: CARLA FRANK
are serving a business . . . it’s not enough to make • PHOTO DIRECTOR: JENNIFER CRANDALL
something look cool. We always have to deliver in • DESIGNER: TED KELLER
content, user-friendliness, and of course style and • PHOTOGRAPHER: GEOF KERN
attitude depending on the type of business. Also, • PUBLICATION: O, THE OPRAH MAGAZINE
I’d advise young designers to learn as much about
the business aspects of your clients or employers theater troupe might put on a show—everyone
as it will make you better, faster, and smarter than doing their part, lines blurring here and there as
the rest. to territorial rights but working for the best prod-
uct possible. This kind of process enables a quick
Further, the very best work is done when one way of dealing with each other, because we are
is not self-conscious but focused on becoming so familiar with each other’s communication and
better as an individual—at anything, whether it’s creative processes. It often creates for personal
running, singing, or design. Just work through breakthroughs if you push yourself.
those struggles which always seem like barriers
but are really opportunities. “THRILLER SUITS”

Where do your ideas come from? • DESIGN DIRECTOR: CARLA FRANK
They come from my human experiences. From • ART DIRECTOR/DESIGNER: LEE

being a living being on the planet right now—in BERRESFORD
our time. They come from my deepest emotions. • PHOTOGRAPHER: TODD MARSHAND
They come from the fact that I am female, and • PUBLICATION: O, THE OPRAH MAGAZINE
they come from my personal beliefs. They come
from my compassion, my love, my anger, my “LOVE”
fears, my height, and my age, my hair color, and
my passions. • DESIGN DIRECTOR: CARLA FRANK
• PHOTO DIRECTOR: JENNIFER CRANDALL
Do you go through a specific design process, • ART DIRECTOR: LEE BERESFORD
for example, conceptualization, visualization, • DESIGNER: JANA MEIER
composition? • PHOTOGRAPHER: GREG MILLER
• PUBLICATION: O, THE OPRAH MAGAZINE
Yes, for the most part. But sometimes I see an
artist’s work and wonder how I can incorporate
their style and wit into my projects and keep that
in the front of my brain for a while.

Why did you choose editorial design as your focus?
Well, I’d always been a magazine junkie,

because of the qualities of escapism, the style,
the wit, the perfection, and the authority in
their voices. I learned also that when I started in
advertising, there was very little room for indi-
viduality and my personal voice. In magazines I
felt the opposite. There was room for my voice
and everyone’s who worked there. Also, I loved
the idea of putting together a product the way a

P. 214 Chapter 0 8

8 - 0 1D I AG R A M [ ]

THES E ARE TH E S TA NDARD
ELEMENTS OR COMPONENT
PARTS OF A PUBLICATION.

S I G N AT U R E

FPO

FOLIO P. 22 Chapter 02 P. 23 HEAD
RUNNER HEADER
BODY GRAPHIC DESIGN: THE BASICS SIDEBAR
SUBHEAD
FOOT Value black and white make gray. Grays are the inter- color mixed with gray is called a tone or a reduc- COLOR AND GRAPHIC DESIGN CAP T ION
Value refers to the level of luminosity—lightness val neutral colors between black and white. Black tion of the fully saturated hue.
or darkness—of a color, such as light blue or dark and white are separately mixed into paint and ink • Color can create a focal point (low saturation color amid a field of highly satu-
red. To adjust the value of a hue, two neutral col- colors to make them darker (shades) or lighter Color saturation may be selected and adjusted rated colors, and vice versa).
ors are employed: pure black and white. (tints). A black and white mixture will also dilute for practical function within a composition. A
the intensity of the hue, as noted in the next sec- saturated color will call attention to itself when • Color is often used symbolically.
Black and white are colors (pigment), but they tion on saturation. placed alongside duller tones. A single saturated • Color can have cultural and emotional associations.
are not considered hues. The two are not found hue on a black-and-white page or computer • Color can be associated with a brand and be chosen to express a brand’s person-
on the visible spectrum and therefore are consid- Even if black and white seem to be pure, some screen will grab one’s attention because it is most
ered achromatic or neutral (without hue). level of hue may still be discernible. A neutral vivid. In a composition, a saturated hue has an ality—for example, Coca-Cola™ red or Tiffany™ blue.
black or white can appear “warm” (containing advantage of being noticed first when surrounded • Color juxtaposition can create the illusion of space.
Black and white have relative value and play an red, orange, or yellow) or “cool” (containing blue by hues of lower saturation. • Color selection should enhance the readability of type.
important role in mixing color. Black is the dark- or green). A neutral color will also react to and • Ramped color, or a gradation of color, creates the illusion of movement.
est value and white is the lightest. Mixed together, be affected by its placement in a composition. TEXTURE • A color should always be selected in relation to the other colors in the piece.
Placed next to a hue or among particular hues, The actual tactile quality of a surface or the simu- • There are established color schemes, such as monochromatic schemes, analo-
2 - 0 9D I AG R A M [ ] the pure neutral color will seem to take on the lation or representation of such a surface quality is
hue itself. a texture. In the visual arts, there are two catego- gous colors, complementary colors, split complementary colors, triadic schemes,
Value contrast obviously creates the ries of texture: tactile and visual. Tactile textures tetradic schemes, cool palettes, and warm palettes, among others. Color palettes
greatest differentiation between the In composition, value contrast is most useful for have actual tactile quality and can be physically are also associated with techniques, historical periods, and art and nature, such
figure and ground, as seen in the grid purposes of differentiating shapes. Note the value touched and felt; they are also called actual tex- as batik colors, art deco, Victorian, retro palettes, ancient Chinese ceramic colors,
of highly contrasting value versus the contrast of the type (black) and substrate (white tures (see Diagram 2-10). There are several print- and earth tones.
grid of similar values. paper) of the page of words you are now reading. ing techniques that can produce tactile textures • Grays can be warm or cool.
The value contrast most clearly differentiates the on a printed design, including embossing and
Value contrast Hue contrast figure from the ground. Hue contrasts alone have debossing, stamping, engraving, and letterpress.
less impact and therefore may not be as effective
FIG. 2 /08 for differentiating between the figure and ground Visual textures are those created by hand, 2 - 1 0D I AG R A M [ ]
images or between elements of a single composi- scanned from actual textures (such as lace), or
POSTER: UNIVERSAL tion (Diagram 2-09). photographed; they are illusions of real textures Actual textures can be found in the
DECLARATION OF HUMAN RIGHTS, (see Diagram 2-11). Using skills learned in draw- great variety of paper available for
1948–1998, 50TH ANNIVERSARY Different value relationships produce different ing, painting, photography, and various other printed designs.
effects, both visual and emotional. When a nar- image-making media, a designer can create a
• PENTAGRAM DESIGN row range of values, which is called low contrast, great variety of textures.
• ART DIRECTOR/DESIGNER: WOODY PIRTLE is used in a design, it evokes a different emotional
• CLIENT: AMNESTY INTERNATIONAL response from the viewer than a design with a Pattern
wide range of values, or high contrast. The high Pattern is a consistent repetition of a single visual
contrast in the poster for Amnesty International unit or element within a given area. In all cases, 2 - 1 1D I AG R A M [ ]
by Woody Pirtle easily captures one’s attention there must be systematic repetition with obvious
(Figure 2-08). (Other types of contrast will be directional movement. (An interesting aspect of Textures are also characteristics of other
discussed in detail in Chapters 5 and 6.) pattern is that the viewer anticipates a sequence.) elements: a square shape filled with a
If you examine patterns, you will notice that their rough texture, a line with a pitted tex-
Saturation structures rely on the configuration of three basic ture, and type with a smooth texture.
Saturation refers to the brightness or dullness of a building blocks: dots, lines, and grids. In a pat-
color or hue; a hue at its highest level of intensity tern, any individual small unit, whether nonob- Rough Texture Pitted Texture Smooth Texture
is said to be purely saturated. A saturated color jective (think organic) or representational (think
has reached its maximum chroma and does not leaf ) shape, can be based on the dot or point. Any
contain a neutralizing color (pure black and white moving path is based on lines, also called stripes.
are without hue) or the mixtures of the neutral Any two intersecting units yield a pattern grid.
colors (gray). Mixed with black, white, and espe-
cially gray, the fully saturated hue becomes dull in If we refer back to the common checkerboard
various degrees. The neutral colors dull the inten- pattern, we see a figure/ground reversal created
sity or saturation because they dilute the hue. A by an allover pattern; that balanced design is

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PUBLICATION DESIGN: COVERS AND INTERIORS

segments or chunks may be highly desirable and b. Write an objectives statement. Define the pur-
benefit communication. pose and function of the problem, the audience
for the books, and the information to be com-
› Head: the top edge of the page municated. On an index card, write adjectives
› Header: title or head; also called headline that describe the work of each writer.
› Deck: a short paragraph or two lines of text that
Step 2
supports and clarifies the header a. Name the series.
b. Design a logo for the short story series (see
› Subhead: subordinate titles to mark subsections
Chapter 10).
of text Step 3
a. Design three book covers—one for each writer
› Body: location of the primary content; also
in your series. Design front covers and spines.
called the block, block of text b. The covers must be similar in style and yet

› Sidebar: supplemental content often placed express the individuality of each writer.
c. The logo must appear on each cover in the
on the edges of the page, however can be placed
anywhere same position.
d. Produce at least ten sketches for each jacket
› Captions: supplemental text that accompanies
that could be expanded into a series format.
visuals used to describe or support images e. Your solution may be purely typographic, visu-

› Runners: running heads, feet, or sides, which ally driven or type-driven.
f. Think about the various ways the series could
are markers used to create geographic location
within the publication be tied together:
i. Through the use of similar visuals: illustra-
› Call-outs: excerpts from the text called out for
tions, graphics, photographs, typography
attention; also called pull-outs ii. Through the use of a technique: woodcut,

› Folio: page numbers; often the page number is mezzotint, torn paper, xerography (See
Chapter 5, Visualization)
clustered with the runners Step 4
Refine the sketches. Create one set of roughs for
› Foot: the bottom edge of the page the series.
› Pagination: the sequential numbers of pages in a Remember: Book covers are very much like post-
ers—they must attract the potential consumer. They
publication; the first right-hand page is numbered should have initial impact. Any book cover design
1, and all subsequent right-hand pages take odd must compete against other books sitting next to
numbers and left-hand pages take even numbers it on a shelf.
Step 5
› Signature: a section of a publication consisting a. Refine the roughs and create one comp per
book.
of a folded sheet of paper that yields four sides b. The covers should be 6" × 9", held vertically.
for printing, then bound with other signatures to c. You may use black and white or full color.
form a publication
Go to our website for many more Exercises and
EXERCISE 8-1 Projects, and presentation guidelines, as well as other
study resources including the chapter summary.
ANALYZING BOOK JACKETS
AND MAGAZINE COVERS NOTE

Find five examples of book jackets or magazine cov- 1. Here, template does not refer to premade templates that non-
ers that express the spirit or personality of their designers utilize, but rather means that a designer creates a cover
contents. Justify your choices. layout that will work for a series or system of covers.

PROJECT 8-1

BOOK COVER DESIGN SERIES

Step 1

a. Select three short story writers. Read their
works. Research them. Ask a literature profes-
sor about them.



BR A NDINGCHAPTER

09 ⁄nine

<<< / facing page

BRANDING:
NICKELODEON

• ADAMSMORIOKA, BEVERLY
HILLS

• DESIGNER: SEAN ADAMS,
NOREEN MORIOKA

OBJECTIVES HOW

Define brand and branding M ANY BR ANDS DID YOU INTERACT WITH
Understand the purpose of
TODAY? WHICH BRANDS DO YOU USE? BREAKFAST CEREAL? JEANS? CELL
branding PHONE? COMPUTER? AUTOMOBILE? DO YOU MAKE PURCHASES BASED ON
A BRAND’S REPUTATION? DO YOU DONATE TO A BRANDED ORGANIZATION?
Become familiar with the branding DO YOU CONSIDER YOUR FAVORITE MUSEUM A BRAND? HOW ABOUT YOUR
LOCAL HOSPITAL? BASEBALL TEAM? BALLET? CHARITY? BAND? POLITICIAN?
process

Understand the range and

character of branded experiences

FIG. 9 /01 WHAT IS BR ANDING?

BRAND: MISS CHIQUITA Whether people like it or loathe it, almost every product, service, major city, business, and
WORLDWIDE PERSONALITY; organization has been branded. Steve Liska, Liska + Associates, points out in Designing
CORPORATE WEBSITE Brand Experiences: “When a carefully monitored and consistent experience is factored into
the strategic success of a coffee company; when millions of dollars can be raised for cancer
• SAMATAMASON, WEST DUNDEE, IL research with a simple yellow rubber wristband; and when symbols can instantly trigger a
• ART DIRECTOR: GREG SAMATA range of emotions based on our perception of what they stand for—you begin to understand
• DESIGNERS: GREG SAMATA, JIM HARDY, the power of a brand’s meaning and how it can shape our daily lives.”

LYNNE NAGEL Understanding what a brand is and how a branding program operates lays some ground-
• ILLUSTRATOR: PAUL TURNBAUGH work for understanding the roles and objectives of individual graphic design applications,
such as logos and websites. Many think of a brand as a proprietary name for a product,
(MISS CHIQUITA WORLDWIDE)
• COPYWRITER: CHIQUITA service, or group; however, on a more multifaceted level, a
• PHOTOGRAPHY: MISCELLANEOUS brand is the sum total of all characteristics and assets of a
• CLIENT: CHIQUITA brand name product, service, or group that differentiates it
from the competition, as well as the perception of the brand
by the public. (In this book, the term group is used to denote
a company, organization, corporation, social cause, issue,
or political group. For the sake of brevity, all branded enti-
ties—whether a product, service, or group that has benefited
from any type of branding—will be referred to as a brand
or group or entity.) Typically, several applications are key
components of an overarching branding effort or program,
beginning with a logo and visual identity through interac-
tive experiences, package design, corporate communica-
tions, promotional design, and advertising. Although many
people use the terms visual identity, corporate identity, brand
identity, and branding interchangeably, branding is a broader
marketing effort than visual identity since it often involves
naming, advertising, and promotion. A visual identity is the
visual and verbal articulation of a brand or group, includ-
ing pertinent key graphic design applications, such as logo,
letterhead, and business cards, and could include package
design, uniforms, signage or environmental design, and cor-
porate communications. Before learning to design a logo,

P. 219

BR A NDING

the cornerstone application of any visual identity producer, and distributor of bananas sold under
or branding program, let’s start with an overview Chiquita (Figure 9-01). Not only does branding
of branding to put logo and identity design into per- distinguish, it builds equity, the value of the brand
spective. When you study visual identity in the or group.
next chapter, we will more closely examine how
to create an identity program. If you have any doubts about how crucial effec-
tive branding is, just think of the strength of Sony,
Branding is the entire development process of The American Red Cross, Coca-Cola, Google,
creating a brand, brand name, and visual identity, Facebook, Hannah Montana, China Mobile, The
among other applications. Creating an integrated Nature Conservancy, or (RED) (Figure 9-02).
branding program (across media) entails weaving
a common thread across all of an individual’s expe-
rience with a brand or group, and integrating the
common visual and verbal language into all expe-
riences with the brand. An integrated branding
program is the creation of a comprehensive, stra-
tegic, unified, integrated, and unique program for
a brand, with an eye and mind toward how people
experience—interact with and use—the brand or
group. Rather than approaching individual appli-
cations as isolated brand design solutions, it is a
strategic imperative to see every application—a
comprehensive brand identity, every appropriate
graphic design application, and an advertising
campaign, including traditional, new, and emerg-
ing media—as a contributor to the entire brand-
ing effort and therefore to a person’s experience
with the brand.

THE PURPOSE FIG. 9 /02
OF BRANDING
(RED)
Due to many convergent factors—new and emerg-
ing media, the economies of nations with rapid • WOLFF OLINS, NY
industrial growth, greater mass production, com- • © 2007 WOLFF OLINS LIMITED. ALL RIGHTS RESERVED. WOLFF OLINS.
peting companies manufacturing parity products
and offering parity services, rise of disposable (RED)’s ambition was to harness the power of the world’s greatest companies to eliminate AIDS
income, desire for new products and better pack- in Africa. To do this it created both a new business model and a new brand model that would
aging, sustainability (green) issues, and changes do three things: deliver a source of sustainable income for the global fund, provide consumers
in the scope and global reach of corporations— with a choice that makes giving effortless, and last but not least generate profits and a sense of
branding, including brand names, logos, visual purpose for partner companies.
identity design, package design, and advertising,
has become indispensable to marketing. In an The first challenge was to get the all-important founding partners on board. So we helped Bobby
overcrowded, competitive marketplace, relevant Shriver and his team to paint a vision of what (RED) could be. We built the brand around the
and engaging branding can ensure efficacy for idea that (RED) inspires, connects, and gives consumers power, with a visual system that unites
a quality product, service, group, individual, or participating businesses by literally embracing their logos to the power (RED).
commodity, for example, Chiquita Brands Inter-
national, Inc.—a leading international marketer, We continue to work with (RED) on developing partner strategies, inspiring new partners to
participate, and briefing employees and agencies. Within the first five weeks of the U.S. launch,
the (RED) brand registered 30 percent unaided awareness. (RED) partners delivered $45 million
to the global fund in one year, more than was received from the private sector in the last five
years. This is enough money to give 290,000 people life-saving drugs for a year.

—© Wolffolins.com

P. 220 Chapter 0 9

Certainly, factors other than branding contribute content or spirit of the advertising, and the com-
to a brand’s success, including the quality of its munities and celebrities who adopt the brand as
product or service, public perception and enthu- part of their lives.
siasm, relevance to people’s lives, the time period
and culture, and the communities and/or celebri- VERBAL AND VISUAL
ties who adopt it. D I F F E R E N T I ATO R S

D I F F E R E N T I AT I O N Two main verbal differentiators are the brand
name, a proprietary name, and the tagline—a
How many brands of coffee or toothpaste can slogan or short distinctive phrase used to identify
you name? Ten? Twenty? What about automo- and promote. The main visual identifier is a logo,
biles? Cell phone carriers? Shoes? Cable chan- the cornerstone of a visual identity. Other graphic
nels? Charities? Museums? When you can easily elements certainly contribute to a visual identity
list many brands of any consumer packaged good, or branding program. When brands were first
service category, or nonprofit institution, the introduced, the brand name, logo, and packag-
need for differentiation becomes clear. When ing established the brand identity. Now we think
most goods and services offer the same benefits, of branding in more comprehensive integrated
why do you choose one over another? When you terms, where the resulting design solutions all
receive requests for donations to several charities, should be in sync. As Steve Liska states, “A brand
all of which you hold in high regard, why give to is not one thing. It is not just a logo or a package.
one over another? It is a complex set of visual, verbal, and experien-
tial cues supported by media messages.”
Products, services, commodities, groups (non-
profit organizations, causes, charities, companies), BRANDING PROCESS
and individuals (musicians, celebrities, politicians,
among others) depend upon branding to differenti- The design process for branding is
ate them in the minds of the public in a glutted
and highly competitive market. Very few prod- Orientation Analysis Concepts Design Implementation
ucts, services, or groups offer unique benefits,
usually offering similar or identical functions as The branding process is a complicated one,
their competitors, a characteristic called parity. demanding collaboration among marketing, cre-
Therefore, branding helps differentiate products, ative, and IT professionals. Often, a lead brand
services, and groups in a crowded brand world. agency hires other expert firms (identity, advertis-
ing, interactive, public relations, market research,
Functional and Emotional Benefits and package design, among others) to help
A brand or group is the sum total of its func- develop the brand or execute particular applica-
tional and emotional assets. Each brand has tions. After what can be extensive research and
functional benefits or capabilities (tangible fea- footwork during orientation, strategy is the next
tures) that may or may not be unique to a product crucial step during the Analysis phase.
or service category; for example, most toothpaste
brands contain the functional benefit of fluo- S T R AT EGY
ride, a cavity-prevention ingredient. (For many
people, quality or functional benefits and a brand Brand strategy is the core tactical underpin-
name are inseparable.) Due to its heritage, parent ning of branding, uniting all planning for every
company, logo and visual brand identity, envi- visual and verbal application. The brand strategy
ronmental design, advertising, endorsements, defines the brand’s personality and promise, dif-
and associations, each brand also carries intan- ferentiates the brand from the competition by
gible assets—emotional benefits. Emotional, as defining the brand’s positioning, and codifies the
well as cultural, associations arise in response to brand essence; it is a conceptual plan providing
the spirit of any brand identity, the emotional

P. 221

BR A NDING

guidelines—for both client management and strategy as Alexander Isley did for BlueBolt Net-
creative professionals—to drive all brand applica- works in Figure 9-03. Essentially, the brand
tions from identity and packaging to advertising. strategy is how you are conceiving, creating, and
At times, the design studio outlines the marketing positioning your brand in the marketplace to

FIG. 9 /03

BRANDING: DEVELOPMENTAL
WORK & FINAL

• ALEXANDER ISLEY INC., REDDING, CT
• CLIENT: BLUEBOLT NETWORKS

BlueBolt Studio™ is a software
tool developed to help architects
and interior designers review,
specify, and order surface materials
and fabrics. We were given the
charge to introduce this new
product to a skeptical and savvy
audience. Our involvement included
outlining a marketing strategy,
establishing a brand personality,
naming the products, and creating
sales and promotional materials.
We developed BlueBolt’s logo,
advertising, packaging, sales
pieces, and announcements. We
also created a trade show booth
with a tea bar and a massage
station—you could sip tea or get
a ten-minute back rub while you
watched a demo on a laptop. The
booth was a huge hit and so was
the product. Coincidence?

—Alexander Isley Design

P. 222 Chapter 0 9

FIG. 9 /04 achieve differentiation, relevance, engagement, CONCEPTUAL DESIGN
and resonance. (When a design solution does not AND THE BRAND CONSTRUCT
BRAND IDENTITY: DELTA AIR LINES fit the strategy, the messaging is off brand; when it
does work with the strategy, the messaging is on Every brand or group should possess a core value
• LIPPINCOTT, NY brand.) However, it is the design that makes the or quality that can become its construct, a quality
• CREATIVE DIRECTOR: CONNIE BIRDSALL strategy corporeal, that truly gives brands their or position a brand “owns” against the composition
• DESIGNERS: ADAM STRINGER, KEVIN distinctive look and feel. (as explained in Question 6 of the Sample Design
Brief in Chapter 4). Owning a quality, even though
HAMMOND, MICHAEL MILLIGAN, FABIAN Delta Air Lines is the third largest U.S. car- others in your category have the same quality,
DIAZ rier with more than 47,000 employees. To coin- establishes a brand in the audience’s mind as the
• CLIENT: DELTA AIR LINES cide with the airline’s emergence from a Chapter primary possessor of that quality; it is position-
11 restructuring, Delta came to Lippincott for a ing of the brand in the public’s mind against the
The new logo was designed to convey strategic reposition, image revitalization, and cus- competition. The tactic, then, is to “claim” owner-
a renewed strength and confidence tomer experience redesign (Figure 9-04). ship of a benefit or quality before anyone else does,
and modernization of the airline to to preempt the competition, and to express that
both customers and its employees. During the strategic analysis, some design or construct through the visual and verbal identity.
The simplified all-red symbol and all- branding firms help determine the brand archi- For example, although many luxury cars are well
uppercase logotype visually reinforce tecture—the structuring of brands within the engineered and perform well in safety and crash
a more sophisticated, directed, and company’s offerings (product portfolio). Basic tests, one brand established its construct as great
globally appropriate expression while brand architecture models include monolithic engineering and another brand established its con-
being considerate of the airline’s (the company name is used on all products or struct as safety. (Can you name them?)
extensive heritage. The Delta symbol services), endorsed (sub-brands are linked to the
is further leveraged through a company by name), and freestanding (each prod- A construct relies heavily on how a brand casts
dynamic cropped livery treatment uct or service is individually branded). When itself. Can you think of any brand constructs?
that speaks to momentum, growth, the Nickelodeon brand saw the need to evolve, When you think of Disney, do you think of fun?
and optimism. it turned to AdamsMorioka (see “Case Study: When you think of The Salvation Army, do
Nickelodeon”). you think of compassion? Do you associate the
Lippincott’s customer experience
implementation rolled out
immediately following the launch.
The look and feel of the terminals
is being dramatically transformed—
from new outdoor signage and
check-in areas to gates and
baggage claim areas—to reflect the
new brand identity. Elements of the
in-flight experience such as monitor
displays, menus, and place-settings
have also been redesigned.

—Lippincott

P. 223

BR A NDING

Southern Poverty Law Center with tolerance? › A brand or group embodies something: eth- FIG. 9 /05

Would you purchase a Toyota for its reliability? ics, humanitarianism, preservation, coolness, fun, IDENTITY: ÖOLA
family values, respectability, excitement, energy,
Is there an energy drink you think is cool to carry novelty, inventiveness, cutting-edge research, a • PENTAGRAM, NY
lifestyle, et cetera. • PARTNER/DESIGNER: PAULA SCHER
around? Do you Bing or Google? • CLIENT: ÖOLA CORPORATION, BOSTON,
› A group is virtuous and works toward solving a
Constructs can be based on heritage, a unique PHILADELPHIA, NEW YORK, AND
social problem or finding a cure for a disease. WASHINGTON, DC
functional or emotional benefit, authenticity,
NAMING A BRAND Öola is a chain of Swedish candy
originality, earthiness, high-tech expertise, and stores in American shopping malls.
Naming a brand involves many crucial consider- The company intended to enter
authoritative expertise, among many qualities. ations. What does the name mean? What type of the U.S. market under the name
spirit or personality should it convey? How will “Sweetwave,” but when Paula Scher
Several factors must be considered when formu- people react to it? What does the name mean in a was commissioned to design their
specific language across cultures? retail identity, she expressed a
lating branding and a brand construct: concern that the name would not
As stated earlier, a brand name is the verbal be interesting enough to American
› Differentiation: distinguished by a unique, con- identity—a proprietary name—and coupled with a consumers. Scher recommended
tagline or descriptor, it becomes the verbal signa- playing up the company’s European
sistent visual and verbal presence ture. Without question, the brand name is the main origins with a new name and a
point of reference to any brand and is the main ver- bright, clean graphic look.
› Ownership: the brand or group “owns” or claims bal marketing tool. When a Swedish candy store
chain intended to enter the U.S. market under The word öola was invented and
an identifiable attribute, a quality, personality, or the name “Sweetwave,” Paula Scher, Pentragram became the basis for the stores’
partner, suggested a name that would play up the entire visual identity. Öola was
posture preempting the competition from claim- company’s European origins. The word öola was chosen for its Scandinavian sound,
invented (Figure 9-05). geometric letterforms, and the
ing the same umlaut, which has become a central
Usually, the name is the one brand element that motif in graphic applications.
› Consistency: construct used across media, per- remains unchanged or, at least, in place for a long
—Sarah Haun, Communications
mitting a consistent brand voice and tone in all Manager, Pentagram

verbal and visual communication

› Relevance: branding is based on an insight into

the audience and an insight into the brand, mak-

ing the brand relevant

How a construct can be cast:

› A brand or group symbolizes something: hon-

esty, stability, authenticity, style, originality, safety,

reliability, good health, luxury, prosperity, down-

home goodness, et cetera.

CASE STUDY
NICKELODEON/ADAMSMORIOKA

BRANDING: NICKELODEON The Nickelodeon brand had grown and diversi- the discovery phase, AdamsMorioka interfaced
fied over its history. Not atypically, the brand did with all components of the brand and returned
• ADAMSMORIOKA, BEVERLY HILLS not have a specific long-term overview, but had with new brand architecture and an execution
• DESIGNER: SEAN ADAMS, NOREEN grown organically. While the success of Nickel- plan. This new structure allowed each division’s
odeon had turned it into one of the world’s leading culture to expand, while reinforcing the primary
MORIOKA children’s entertainment companies, it now faced set of promises and message of Nickelodeon.
the danger of dilution as various business ven-
tures and divisions moved further apart in mes- A reface of the on- and off-air visual system
sage. The audience was shifting demographically followed, putting the findings and architecture
and psychographically. And, over time, employee into real time. The visuals are based on the idea
defections to the competition had enabled oth- of “kid modernism.” Opposing the standard visu-
ers to emulate and co-opt Nickelodeon’s equity. als in children’s entertainment—complex layers,
Knowing there was a potential problem in the multiple typefaces, lots of purple and green—the
future, Nickelodeon approached AdamsMorioka Nickelodeon system approaches from the oppo-
with the assignment to determine the assignment. site side. The system is reductive; creating a focus
Often, companies don’t turn to a communications on the brand and its product, with characters like
firm until revenue is decreasing, or audience share SpongeBob SquarePants and other properties.
has shifted negatively. In this instance, Nickel- There are no extraneous shapes, colors, or images.
odeon was exceptionally successful, seeing only The message is simple, clear, and direct. This is
increased revenue, ratings, and diversification. not about collage, but ideas and narrative. The
Rather than settling for this, waiting for a down- system is utilized in all media, print, advertising,
turn, Nickelodeon saw the need to evolve. online, and on-air. This provides a proprietary
visual for Nickelodeon, separating the “voice of
AdamsMorioka approached the issue with a far- Nick” from other advertising, and reducing the
reaching discovery phase. Working with internal pace of children’s television.
and external audiences, they mapped a process and
set of deliverables to maintain and increase Nickel- Success for all companies is a result of multiple
odeon’s success, while planning for expansion. After factors including product, distribution, program-
ming, and human resources. Strategy and design

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BR A NDING

play parts of this role. It is disingenuous to por- iconography to explain the benefits of each televi-
tray strategy and design as the only activator of sion program. Children’s messaging addresses the
that success. Following implementation and dis- limited reading capability of this age group and
semination, however, Nickelodeon had its high- show character recognition. Characters like Dora
est profit the following year. Programming blocks the Explorer and Blue from Blue’s Clues are used to
were created to reach new audiences such as communicate messages from the network.
tweens; with new brand extensions and activities
implemented, the existing product was fortified. NICK AT NITE

NICK JR. Nick at Nite’s strength was its rich programming.
Comprised of sitcoms including I Love Lucy, The
Nick Jr. is the arm of Nickelodeon that communi- Brady Bunch, and Three’s Company, the network is
cates with preschool children. As Nick Jr. became made of images and icons that make up our culture.
more successful, both financially and critically, it AdamsMorioka designed a graphic system begin-
became apparent that it should be treated as its ning with the idea of “less color, more content” and
own brand and given a clear proprietary look. The is designed to “get out of the way.” The black and
brand message includes the need for Nick Jr. to be white color palette allows a wide variety of pro-
a safe place for two- to five-year-olds with a pri- gramming with different visual qualities to live
ority of education and entertainment value. The together. The simplicity of the program stands in
visual system addresses the strategic needs of com- stark contrast to traditional television graphics and
munication on two levels, talking to children and provides a proprietary attitude to Nick at Nite.
parents simultaneously. Parenting messages use
—AdamsMorioka

P. 226 Chapter 0 9

FIG. 9 /06 P R O C E S S C O R P. C R EAT IVE P R O DU C T ION M A N AGE M ENT
M A I L 410 G REAT R OAD B OX B3 LITT L E T O N, M A 01460
IDENTITY SYSTEM, WEBSITE, AND DE LIVER Y THE LITT LETON MI LL BL DG 1 FLR 2 R M 3
AD PROCESS T 9 78 486 0301 F 9 78 486 0901 W P R O C E S S C O R P. N ET

• VISUAL DIALOGUE & RICK RAWLINS/WORK period. Whereas logos, often, are periodically Levi Strauss; and Martha Stewart for the brands
• CREATIVE DIRECTORS: FRITZ KLAETKE, updated, names usually don’t change unless there
is a company merger, acquisition, or takeover, or created by Martha Stewart.
RICK RAWLINS the name becomes outdated. A brand name is an
• ART DIRECTORS: RICK RAWLINS, FRITZ intangible asset, optimally adding value to a brand › Explanatory: named to best explain or describe
(think Coca-Cola, Vanguard, and Google).
KLAETKE the product or service, such as Toys “R” Us, China
• DESIGNERS: FRITZ KLAETKE, RICK Types of Names
There are several categories of name types that Mobile, Burger King, American Heart Associa-
RAWLINS, IAN VARRASSI are more or less appropriate for any brand.
• COPYWRITER: LYNN HORSKY tion, Coca-Cola, Give Kids the World, and Pro-
• SITE PROGRAMMING: IAN VARRASSI › Founder’s name: named for the company’s
• MARKETING CONSULTANT: EDANA cess (see Figure 9-06).
founder(s), such as Harrods of London named
SPICKER, WWW.AGENTEDANA.COM for the family name of Charles Henry Harrod; › Expressive or Invented: names that are con-
• CLIENT: PROCESS Ben & Jerry’s ice cream named for Ben Cohen
and Jerry Greenfield; Levi’s named for founder structed to have a certain panache or sound, such
Problem: Clements Horsky Creative
Directions, a print production as Google, Häagen-Dazs, Bing, Xerox, Def Jam
management firm, came to us with
two major problems: (1) their name recordings, Earth Share, Timex, and Intel.
was confusing and didn’t provide
any clues to what they do, and › Allegorical or Symbolic: names that express their
(2) their communications materials
had an amateurish and haphazard nature through an allusion to an allegory or a
look that was inappropriate for
a company that handles print symbol to represent a brand, such as Nike (named
production issues for designers.
for the Greek goddess of victory), Sirius (named
Solution: Playing on the four-color
process inks common in printing,
and on the process of design and
print production, Visual Dialogue
helped rebrand the company
with a new name (Process), logo,
stationery, ads, and website. All
of the communications materials
reveal the production techniques
by which they were created and
serve as case studies for what
Process does.

—Fritz Klaetke

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BR A NDING

for the sky’s brightest star), Nintendo, Vanguard, and any other visual elements). The brand look
and Apple Computers. and feel is a visual “attitude” that differentiates a
brand from the competition, making it unique,
› Acronym: a brand name formed from the ini- distinctive, memorable, and relevant to its audi-
ence. It should define its individual character, be
tials or other parts of several names or words; for synonymous with the brand, not be in any way
example, GE for General Electric, BMW for generic, and definitely not look like its competi-
Bayerische Motoren Werke, KFC for Kentucky tors. For example, when Keith McNally decided
Fried Chicken, IBM for International Business to open a large, classical French brasserie and
Machines, and BP for Beyond Petroleum. bakery—in a part of east SoHo that most people
simply avoided—he asked Mucca Design to col-
Name Efficacy laborate in the design and development of an
There are many ways to make a brand name extensive and fully integrated identity that would
effective. define the restaurant’s traditional feel with a sense
of freshness, romance, and attention to period
› Distinction: a name that characterizes, dis- details (see “Case Study: Balthazar”).

tinguishes, and differentiates the brand among Brand Promise
its competitors. The brand promise—essentially what the brand
claims it will or can do, expressed through the
› Memorable: a name should be worth remember- identity and advertising—has always been an
important part of what makes a brand desirable.
ing and sufficiently engaging. Most say a brand Dating back to one of the first American brands,
name should be easy to pronounce and spell; how- Uneeda biscuit, the National Biscuit Company
ever, one could make a case for interest over ease. created brand promise when it offered consumers
an “inner-seal package,” promising sanitary pack-
› Purposeful: a brand name can be meaningful, aging and fresh, crisp crackers.

adding significance, purpose, or cachet to a prod- There is the actuality of a brand, and then there
uct, service, or group. A brand name should com- is the audience’s perception of it. It is important
municate the personality of the brand and address to understand this component in design devel-
its target audience. opment. How an individual perceives a brand
depends upon several factors:
› Extendable: a name should be capable of grow-
› Whether a brand delivers on the brand promise
ing and changing with the company and possible › The individual’s response to the brand identity
brand extensions.
and advertising
› Long-lasting: a name that endures will be viable
› The experience of the brand on the website
for a long time.
and at other touchpoints
› Legally owned: the name or domain should
› Brand placement and positioning in films, tele-
be available to be legally registered, owned, and
trademarked. It should not legally infringe on any vision programs, and sports events
other trademarked name.
› Celebrity endorsers and users (paid and
DESIGN DEVELOPMENT
unsolicited)
Based on the strategy, name, and construct, visu-
alization and composition begins during design › Testimonials
development. You will need to consider brand › The public image and behavior of the company
differentiation, brand promise, and branding
applications and media. or group

Differentiation through Look and Feel › Any public relations crisis, incident, or scandal
As part of the design solution, a brand’s unique
personality is established and communicated involving the brand
through its “look and feel,” expressed through
the particulars of the visualization and composi- › Each separate experience a user has with the
tion (including color palette; characteristics and
qualities of lines, shapes, and textures; typeface; brand

CASE STUDY
B A LT H A Z A R / M U CC A D ES I G N

BRANDING: BALTHAZAR Keith McNally, the man behind Café Luxembourg, the brand identity are leveraged throughout the
Odeon, Nell’s, Lucky Strike, Pravda, Schiller’s, restaurant and have become widely recognizable
• MUCCA DESIGN CORPORATION, NY and Pastis, is one of New York’s most successful symbols of quality and luxury.
restaurateurs; he is a truly inspired and inspiring
visionary, and one of Mucca’s favorite clients. With the overwhelming growth of Balthazar’s
popularity came several extensions of the brand,
As with most of the projects we’ve undertaken including Balthazar Bakery and its wholesale divi-
with McNally, the process of creating Balthazar sion, as well as its popular gift items and famous
Restaurant was deeply involved and truly col- cookbook, all of them designed by the Mucca
laborative. It was immediately apparent to the team. Though they share defining characteristics,
Mucca team that the Balthazar identity had to each new division or extension of the central Bal-
communicate McNally’s obsession with quality thazar brand was given an individual identity with
and detailed authenticity. From the logos and sig- its own color scheme and typographical system in
nage to menus and matchboxes to packaging and order to clarify the unique brand proposition.
delivery vans, every part of the Balthazar brand
was designed and orchestrated to give it the feel Balthazar is now one of New York’s most pop-
of a place that had evolved over generations to ular restaurants. Widely recognized as an insti-
become the familiar institution that it is now. tutional landmark and credited with sparking
the revitalization of several city blocks in lower
Mucca Typo created the Decora Typeface Manhattan, the McNally flagship is also highly
(based on vintage Victorian examples) specifically regarded as a singularly successful and multifac-
for Balthazar packaging, and gathered dozens of eted luxury brand.
other fonts and faces to support it. Elements of
—Mucca Design

P. 229

BR A NDING

FIG. 9 /07

BRANDING: AETHER APPAREL

• CARBONE SMOLAN AGENCY, NY
• CREATIVE DIRECTOR: KEN CARBONE
• DESIGNERS: NINA MASUDA, DAVID

GOLDSTEIN
• PROJECT MANAGER: RACHEL

CRAWFORD
• CLIENT: AETHER APPAREL

Branding Applications and Media appeal to this demographic and to reference the word
Applications and media for any branding program itself, Aether, meaning “the heavens”. After creat-
can vary, depending upon factors such as project ing the mark, which evokes infinity and clouds cir-
scope; budget; and type of product, service, or cling a mountain peak, CSA designed interior and
group. In Figure 9-07, the branding involved sev- exterior garment tags and a website featuring dra-
eral applications. The Carbone Smolan Agency matic outdoor photography and a sleek, flash-based
(CSA) comments: user interface.

Aether Apparel, a new line of adventure sports- Key applications usually include name, logo,
wear inspired by a life spent outdoors, aims to appeal tagline, letterhead, website, and corporate com-
to the outdoor enthusiast who needs the function munications. Media includes print, screen-based
of performance garments, but who desires a more media, broadcast media (television and radio), out-
sophisticated form. CSA designed the brand’s logo to of-home, guerrilla advertising, product placement,

P. 230 Chapter 0 9

P O I N T S OF CONTACT: and sponsorships. It is important to identify the
media that will be most focused and powerful in
For any brand or group, there are multiple points of contact with the public. Each is carrying the brand message to the public and in
an opportunity to inform and endear. influencing the target audience’s brand percep-
tions. Every contact point that offers a positive
• Logo and visual identity • Branded environments experience for the audience strengthens the audi-
ence’s brand perception; therefore consistency is
• Television commercials • Environmental graphics/signage key in how the Muzak brand, for example, is uti-
lized across applications (Figure 9-08). For exam-
• Tagline • Broadband content ple, when Duffy & Partners designed the branding
system for The Islands of the Bahamas, they cre-
• Print advertising campaigns • Product placement and sponsorships ated an entire brand language that is “endlessly
adaptable—in signage, online communication,
• Websites (including micro-sites) • Telemarketing ads, merchandise, and iconography.” (See “Case
Study: The Islands of the Bahamas.”)
• Web banners and floater ads • Branded entertainment
REBRANDING
• Social networking sites • Promotions
Often, designers are faced with the challenge of
• Mobile • Publicity rebranding an existing brand identity or brand
program for a variety of reasons. Duties might in-
• Motion graphics • Buzz (word of mouth) clude reinventing a brand, repositioning, renam-
ing, redesigning, or all of these (covered more
• Corporate communications • E-mails fully in the next chapter on visual identity). For
example, Landor advised Federal Express that the
• Radio commercials • Ephemera name FedEx conveyed a greater sense of speed,

• Out-of-home • Events or happenings

• Viral marketing efforts • Online video sharing

• Unconventional advertising • Environmental alterations

• Direct marketing • Emerging media

FIG. 9 /08

IDENTITY: MUZAK

• PENTAGRAM

Notice how the “m”
is used alone and in
combination with the
wordmark “muzak.”
The use of lowercase
letters establishes
both a contemporary
and mellow feeling.

P. 231

BR A NDING

FIG. 9 /09

BNSF BRANDING

• LISKA + ASSOCIATES, CHICAGO AND
NEW YORK

• CREATIVE DIRECTOR: STEVE LISKA
• ART DIRECTOR: KIM FRY
• DESIGNER: BRIAN GRAZIANO
• CLIENT: BNSF
• © LISKA + ASSOCIATES

We developed a nomenclature
system and created a branding
program that more accurately
reflects the values and attributes
of the unified company. To ensure
consistent application of the
branding program, including
application to thousands of
railcars, signs, and print material,
we created an online brand
manual that can be used by BNSF
associates and vendors throughout
the United States and Canada.

We designed the logo and
developed nomenclatures that
helped unify the company’s identity
and reflect BNSF’s strength and its
modern and forward-moving brand
attributes.

—Liska + Associates

technology, and innovation than Federal Express. distinctive branding program for its brand. Simi-
Landor created the FedEx identity using a spe- larly, it is vital for any group to have a distinctive
cially designed typeface in FedEx’s orange and branding program.
purple colors.
In his autobiography, Songs My Mother Taught
Ten years after the company formed from the Me, actor Marlon Brando wrote that he didn’t
merger of the Burlington Northern and the Atchi- ask for “power and influence”—people bestowed
son, Topeka and Santa Fe railways, BNSF hired it upon him. Audiences decide whom they like
Liska + Associates to guide the company through and which brands they like as well. Ultimately,
a brand evolution (Figure 9-09). it is the public who decides which brands are
stars. It is the opinion (reviews, ratings, pur-
CHARACTER OF chases) and perception (blogs, sites, and videos
BRANDED EXPERIENCES that go viral) of the audience that can make or
break a brand.
In today’s marketplace—where, in almost all
cases, there is more supply than demand and There are other contributing factors to brand
several, or perhaps many, brands in each prod- perception, such as the communities or celebri-
uct or service category—it is vital to a company’s ties who “adopt” the brand, but the brand prom-
marketing strategy to establish a comprehensive, ise is the functional and emotional advantage and
value pledged to the user. Due to the nature of the
cumulative experiences with a brand, people may

CASE STUDY
T HE ISL ANDS OF THE BAHAMAS/DUFFY & PART NERS

IDENTITY/BRANDING/ BACKGROUND private and public sector entities. And ultimately
ADVERTISING/STANDARDS/ revitalize an economy that depends on over 60
WEBSITE: THE ISLANDS It was late 2001, just after the travel and tourism percent of its GNP from tourism.
OF THE BAHAMAS industry had witnessed its most crippling down-
turn in history—9/11. The Ministry of Tourism THE DESIGN EXPLORATION
PROCESS & SKETCHES: THE of The Islands of the Bahamas was looking for
ISLANDS OF THE BAHAMAS a new partner to help it rebrand its country and We immersed ourselves in the culture and learned
present its unique tourism product to the world. that the beautiful island nation offered myriad
• DUFFY & PARTNERS, MINNEAPOLIS experiences for any travel desire. We were struck
Many choices and much clutter lead to cat- by the sights and the sounds, the shapes and col-
egory fragmentation at best and a sea of sameness ors, the flora and fauna. We started to use those
at worst. No one stood out. Nothing seemed dif- elements to begin to define possible solutions in
ferent. The Bahamas was significantly outspent our visual brief collage board.
by many of its competitors.
Duffy & Partners concluded that the Bahamas
CHALLENGE needed an entirely new brand identity, one that not
only made the country stand apart, but also was
“We want people to look at the Bahamas again flexible for many different constituencies to use.
and again.”
We quickly landed upon the concept of design-
—Vincent Vanderpool-Wallace ing a stylized map of the Bahamas—an identity sys-
Former Director General, Ministry of Tourism, tem to highlight each of the fourteen major tourist
The Islands of the Bahamas destinations and their many unique offerings. This
set in motion an entire brand language that is end-
It was our self-described objective to “create lessly adaptable—in signage, online communica-
branded desire for the Bahamas.” Differentiate tion, ads, merchandise, and iconography.
the nation as the preferred sun and sand vaca-
tion destination. Celebrate the many offerings of RESULTS
a multiplicity of islands. Provide a branding sys-
tem that would be used by one and all alike—the • The new branding initiative was unanimously
country, many individual islands, and numerous embraced by The Ministry of Tourism and its

P. 233

BR A NDING

private sector partners to become the single • Efforts that emanated from this new brand
rallying point for the country. presentation have consistently driven increased
• Quantitative research in the United States, visits and increased tourism revenue in the
Europe, and the Bahamas showed double-digit double digits since its introduction in 2002.
increases in critical brand attributes such as
communicating that the Bahamas is a chain • Visitor satisfaction scores have consistently
of islands with many friendly, vibrant, and increased and intent to return and recommend
novel experiences. the Bahamas are at historic highs.
—Duffy & Partners

P. 234 Chapter 0 9

perceive the brand as delivering or not delivering for Americana inspired the branded line of mer-
on its brand promise; and if they deem it to not chandise, which comprised videos, soundtracks,
be delivering, they will voice their opinions and books, and collectibles, unifying the wide num-
move on to another brand. ber of licensees, who ranged from Bertelsmann
to Elektra Records to Knopf,” explains Carbone
BRANDING AN EXPERIENCE Smolan Agency.

At every point of contact, a person experiences “Overlooking Seattle’s beautiful Elliott Bay,
a brand or group—whether it’s through contact Cascade and Olympic mountain ranges, and
with packaging, customer relations, a branded line the city’s magnificent skyline is where Hornall
of merchandise, an interactive kiosk, an exhibit, a Anderson delivered on the Space Needle’s tagline
website, or an event. Every experience, whether of ‘Live the View!’ positioning, by creating a guest
from one point of contact or from many points experience unlike those typically found at view-
of contact of an integrated campaign, should be a oriented tourist attractions.” Hornall Anderson
positive and consistent one. further explains their work shown in Figure 9-11:
“Interactive designers and technicians built a
“How do you leverage a landmark television series of intuitive, highly user-friendly kiosks that
series for maximum exposure so that it can be extend the 360-degree view, not just visually, but
licensed to other companies for product tie-ins experientially, as people learn about the many
and promotions?” Carbone Smolan Agency was treasures of the Emerald City. The branded expe-
challenged to do just that (Figure 9-10). “Ken rience is called SkyQ.
Burns’ Baseball presented an opportunity to
extend the sense of history and pride captured “The Experiential Branding™ system is im-
in this eighteen-hour miniseries. Burns’ passion mersive, engaging, and leaves an indelible mark

FIG. 9 /10

BRAND IDENTITY &
MERCHANDISING PROGRAM:
KEN BURNS’ BASEBALL

• CARBONE SMOLAN AGENCY, NY
• CREATIVE DIRECTOR: KEN CARBONE
• DESIGNER: JEN DOMER

P. 235

BR A NDING

on the person because they’re at the center of the FIG. 9 /11
experience. They’re not merely interested observ-
ers out on the periphery, but actual participants,” PROJECT: SPACE NEEDLE SKYQ INTERACTIVE INSTALLATION
states Hornall Anderson.
• HORNALL ANDERSON, SEATTLE
EVENT BRANDING • ART DIRECTOR: JAMIE MONBERG
• DESIGNERS: NATHAN YOUNG, JOSEPH KING, HANS KREBS, ADRIEN LO, COREY PAGANUCCI, RYAN HICKNER,
Most branding programs are intended to endure.
However, there are branding programs created for JORDAN LEE, CHRIS MONBERG, CHRIS FREED, KEVIN ROTH, HALLI BRUNKELLA
events and films that are shorter lived. Most major • CLIENT: SPACE NEEDLE
motion pictures are heavily branded, with websites,
TV commercials, posters, and screen-based media At the View kiosk high-definition cameras controlled by visitors enable them to zoom in on
utilized. However, once the film has left the the- various points of interest and learn about what they’re seeing from presentations delivered in
aters, the branding program is no longer necessary multiple media formats. Interactive maps, meanwhile, flank the View station, offering touch-
(until DVD release or for award nominations). screen capabilities linked to live video, produced movies, still images, and text factoids about
Similarly, special events such as conferences, gala Seattle landmarks. The viewing experience is further enhanced by aural content delivered
benefits, marketing events and parties, tradeshows, through holophonic audio spotlight speakers.
and award events, among others, are also branded.
From there, visitors might choose to move to the Vignette kiosk, where they can gather
The London Design Festival, the umbrella authentic local perspectives about Seattle destinations, which are delivered by local residents.
organization that promotes the annual season of The 20–40 second segments are shot in high-def, and also include still images complemented
design-related events in London each September, by directional audio.
commissioned Domenic Lippa of Pentagram,
with senior designer Paul Skerm and design assis- Or, people can move to the Reveal kiosk and interface with motion-sensitive screens that
tant Ali Esen, to design the identity and every serve up factoids and illustrated 360-degree views of the city from directly beneath the O-deck.
element of the festival’s citywide graphic pres- Factoids on such popular destinations as the Pike Place Market, the Seattle Aquarium, Mount
ence including brochures, signage, guidebooks, Rainier and others pop up when the user clicks on a touch-screen button mounted over five
30" LCD panels showing the Seattle skyline.

Arguably, the most dramatic visuals in the entire experience may reside at the Time-
Lapse kiosk. Four 30" LCD panels display a 360-degree, digitally stitched panoramic view of
the Seattle skyline shot from the roof of the Space Needle. These are taken in one-minute
increments over a twenty-four-hour period. A single knob guides the experience, allowing for
forward or backward travel throughout the day. The control also allows for panning the view
across the assembled screens to get the full interactive effect.

—Hornall Anderson

P. 236 Chapter 0 9

FIG. 9 /12

LONDON DESIGN FESTIVAL 2007

• DESIGN: DOMENIC LIPPA/PENTAGRAM,
LONDON

• PHOTOGRAPHER: NICK TURNER
• CLIENT: THE LONDON DESIGN FESTIVAL

Lippa retained the festival’s
established logo, designed by
Frost Design for the first London
Design Festival, and developed the
branding with a bold typographic
theme using a modified Al Fragment
typeface.

—http://blog.pentagram.com

promotional material, environmental graphics, motif underscores the fast pace of today’s wireless
and the look and feel of the website as well as the market, while stylized ‘action’ photography show-
first London Design Medal (Figure 9-12). cases the 24/7 relevance of wireless technology,”
comments MiresBall (Figure 9-13).
“As Qualcomm’s BREW business introduced
new technologies and moved into new markets, For the Art Directors Club of New Jersey,
its popular industry conference needed to convey Rizco, who runs a green design office, created
a sense of excitement and possibility. MiresBall a green solution for the awards dinner (Figure
anchored the conference identity around the 9-14). For the “Thinking Creatively” confer-
theme Into the New. Visually, a racing-stripe ence cosponsored by Kean University and the

FIG. 9 /13

BREW CONFERENCE

• MIRESBALL, SAN DIEGO
• CREATIVE DIRECTOR: SCOTT MIRES
• PROJECT MANAGER: OLIVIA HEEREN
• DESIGNERS: LESLIE QUINN, MIGUEL PEREZ
• COPYWRITING: ERIC LABRECQUE
• PHOTOGRAPHY: EMBRY RUCKER, LOU MORA
• CLIENT: QUALCOMM

For over a decade, MiresBall has
helped Qualcomm communicate its
forward-looking leadership in wireless
communications.

• Named and developed identities
for key components of BREW
solution set

• Communications and design partner
for annual BREW conference

—MiresBall

P. 237

BR A NDING

Art Directors Club of New Jersey, year after year FIG. 9 /14
Steven Brower has made each conference a one-
of-a-kind happening (Figure 9-15). ADCNJ AWARDS BRANDING

Over the next several chapters, we will examine • RIZCO DESIGN, MANASQUAN, NJ
individual applications that can be components of • CREATIVE DIRECTOR: KEITH RIZZI
branding programs. For example, every brand or • DESIGNER: KEITH RIZZI
group has a home on the web with other support- • PRINTER: CMYK PRINTING
ing digital applications. Coupled with a verbal
identity, a visual identity is the cornerstone of any (COLLATERAL)
branding initiative. • ENGRAVING: PRECISE CONTINENTAL

(ENVELOPES)
• CLIENT: ART DIRECTORS CLUB OF

NEW JERSEY

EXERCISE 9-1

INVENTING A NAME
➊ Choose a product or service and invent a brand

name for it.
➋ The name should be appropriate and communi-

cate the brand’s personality.
➌ The name should be memorable.
➍ The name could convey the brand’s or group’s

functional benefit. Functional benefits are the
practical or useful characteristics of a product
or service that aid in distinguishing a brand from
its competition, such as nutritional, economical,
or convenient advantages.
➎ The name should have a long life span.
➏ If the company is international, the name should
reflect its global status.
➐ If the brand is international, the name should
work for each country in which it is sold.

PROJECT 9-1 FIG. 9 /15

FROZEN TREAT POSTER AND ANCILLARY MATERIALS FOR “THINKING CREATIVELY” CONFERENCES
➊ Invent a new frozen treat that would be sold
• ART DIRECTOR/DESIGNER: STEVEN BROWER
in retail stores such as supermarkets and • CONFERENCE DIRECTOR: PROFESSOR ROSE GONNELLA
groceries. • SPONSORED BY THE ART DIRECTORS CLUB OF NEW JERSEY AND KEAN UNIVERSITY
➋ Using the sample design brief in Chapter 4,
write a brief for your frozen treat product. Be
very clear about the target audience since that
will help determine the spirit of the brand.
➌ Invent a brand name.
➍ Choose a color palette.
➎ Write a very short story involving this product.

Go to our website for many more Exercises and
Projects, and presentation guidelines, as well as other
study resources including the chapter summary.



VISUAL IDENTITYCHAPTER

10 ⁄ten

<<< / facing page
IMAGE: SUZHOU MUSEUM

• TRACY TURNER DESIGN INC.,
NEW YORK

OBJECTIVES PICTURE

Realize the purpose of a visual AN INSUR ANCE COMPANY. WHAT COMES

identity TO MIND? YOU MIGHT THINK OF A HUGE OFFICE SPACE WITH PEOPLE IN
CUBICLES WORKING ON COMPUTERS, TALKING ON PHONES, AND PARTICI-
Understand the definition of PATING IN MEETINGS. NOW, LET’S TAKE IT A STEP FURTHER—WHAT IS THE
DIFFERENCE IN HOW YOU IMAGINE FIVE DIFFERENT INSURANCE COMPANIES?
visual identity ON THE SURFACE, MOST COMPANIES SEEM LIKE FACELESS, VAST CORPO-
RATE ENTITIES, WITHOUT MUCH TO DISTINGUISH THEM FROM ONE ANOTHER.
Learn the definition of a logo WITHOUT A VISUAL IDENTITY, LOGO, OR ICON, ALMOST ANY COMPANY OR
Begin to design logos ORGANIZATION WOULD SEEM A GENERIC GROUP.
Learn the purpose of a letterhead
See the point of a business card

V ISUAL IDENTITY: WHAT IS ITS PURPOSE?

The basic purpose of visual identity is the same as a branding program—to identify, differen-
tiate, and build a sustainable presence and position in the marketplace, as well as to engender
trust in the brand or group.

DEFINITION OF VISUAL IDENTITY

In today’s competitive worldwide marketplace, with so many different brands in each prod-
uct and service category, it is a business imperative for each brand’s identity to communicate
clearly and consistently. Similarly, any organization or social cause requires an interesting and
coherent visual identity. A visual identity is the visual and verbal articulation of a brand or
group, including all pertinent design applications, such as the logo, letterhead, business card,
and website, among other applications; also called brand identity, branding, and corporate
identity. Figure 10-01 shows the straightforward visual identifier that Crosby Associates cre-
ated for Edward Jones based on a simplified company name.

The keystone of any visual identity is a logo, a unique identifying symbol. Every time a
viewer sees a logo for a brand, group, or social cause, that viewer should be able to imme-
diately recognize and identify the entity it represents. A logo can carry enormous value for
a brand, social cause, or company. Simply think of famous brands or groups and their logos
should pop into your mind, such as the 3M logo (see Figure 10-05). As Milton Glaser states,
“A logo is the point of entry to the brand.”

Kinds of Visual Identity or Branding Projects

› New company, product, service, or group
› Name change
› Revitalization to stay relevant: redesign of an existing visual identity to have bearing in

the marketplace

› Revitalization to ensure continued success (see “Case Study: Nickelodeon” in Chapter 9)
› Reposition: redesign of an existing logo to redefine an existing brand, aiming at a different

audience, or to reposition the brand for a new audience

P. 241

VISUAL IDENTITY

› Merger of two brands or groups: newly designed DESIGNING VISUAL FIG. 10 /01
IDENTITY
logo to represent the merger and accrued equity IDENTIFICATION AND BRANDING:
of companies or groups who discard their previ- As with any design project, the standard process EDWARD JONES
ous logos for designing visual identity is shown here:
• CROSBY ASSOCIATES, CHICAGO
› Integrated media program to establish consis- Orientation Analysis Concepts Design Implementation
• CLIENT: EDWARD D. JONES & CO.
tency across applications and media Depending upon the nature of the firm assigned
to the visual identity project, they may be involved • SYMBOL / STATIONERY AND PRESENTATION
GOALS OF AN IDENTITY in market research, a brand audit, a competitive FOLDER / ACCOUNT SUMMARY / BUSINESS
audit, setting or clarifying existing strategy, and ENVELOPES
Ideally, a visual identity communicates meaning, naming. After orientation and analysis, concep-
adds value, is relevant to its target audience, and tual design begins and is based on the strategy set • CREATIVE DIRECTOR/ART DIRECTOR/
should be forth in the brief (for more information on design DESIGNER: BART CROSBY
briefs, see the section on the logo design process
› Recognizable: The shapes and forms are identi- in this chapter and Chapter 4). • IDENTITY STANDARDS / SIGNAGE

fiable and decipherable. CONCEPTUAL DESIGN • CREATIVE DIRECTOR/ART DIRECTOR:
BART CROSBY
› Memorable: The shapes, forms, and colors are The design concept is conceived with a brand’s
or group’s core value/quality and significance • DESIGNERS: BART CROSBY, WHITNEY
sufficiently coherent, interesting, and unusual. (as manifested in a brand construct, a quality WATERS
or position a brand “owns” against the competi-
› Distinctive: The name, shapes, forms, and col- tion), visually communicated through its logo Edward Jones is the leading
investment resource for individuals.
ors are uniquely characteristic to that entity and But a cumbersome name Edward
differentiate it from the competition. D. Jones & Co. was confused with
competing firms, a problem that was
› Sustainable: The name, shapes, forms, and colors further compounded by the lack of
a recognizable visual identifier.
would endure, be relevant for a period of years.
Crosby Associates’ solution was a
› Flexible / Extendible: The name, shapes, forms, comprehensive program built upon
a simplified name Edward Jones and
and colors are flexible to work across media, to an equally simple visual identifier.
grow with the entity’s new services, and to adapt
to brand extensions and sub-brands. The signage program for Edward
Jones had to be distinctive, cost-
effective, and suitable across a
wide range of facilities, from the
firm’s upscale urban office buildings
to its more than 4,000 local offices,
many of which are in storefronts
and converted residences. The
solution was a dramatically
simple system of standard sign
types and sizes, together with
the establishment of a single, on-
demand sign manufacturing and
installation resource.

—Crosby Associates

P. 242 Chapter 10 and visual identity. A logo tells a focused visual
story—meaning is distilled and then compressed
FIG. 10 /02 into a unit—for example, Wolff Olins created a
visual identity that expresses “vitality” for Uni-
LOGO: UNILEVER lever (Figure 10-02).

• WOLFF OLINS, NEW YORK Designers and their clients assign meaning
• CLIENT: UNILEVER to logos. Today, the public “owns” brands and
groups—reviewing them, blogging about them,
FIG. 10 /03 even helping to build a logo’s meaning. It is the
public who interprets and accepts (or rejects) what
IDENTITY AND CONFERENCE it signifies. A visual identity system or a brand-
MATERIALS: BIONEERS ing program, and other applications and efforts,
CONFERENCE support the assignment of meaning in order to
build consensus. Of course, meaning evolves,
• SUBSTANCE151, BALTIMORE sometimes naturally with age, with changes in the
• CREATIVE DIRECTOR: IDA CHEINMAN marketplace, or with revitalizations.
• DESIGNERS: IDA CHEINMAN, RICK

SALZMAN
• CLIENT: BALTIMORE BIONEERS (WWW

.CULTIVATINGCHANGE.ORG), BALTIMORE

The Bioneers Conference is a
multidisciplinary forum of practical
solutions for restoring the Earth
and its inhabitants. It’s a thriving
network of visionary innovators
and thought leaders around the
nation working to improve the health
of our environment and human
communities by bringing together
nature, culture and spirit.

—Substance151
Images:
• Baltimore Bioneers logo and

letterhead
• www.cultivatingchange.org

website
• “Baltimore Bioneers: Cultivating

Change. Inspiring Solutions”
conference brochure, spread,
and cover

P. 243

VISUAL IDENTITY

FIG. 10 /04

IDENTITY: TIME HOTEL

• MIRKO ILIC´ CORP., NEW YORK
• CLIENT: TIME HOTEL

As always, you are looking for an insight that touchpoint. A unified brand experience was the FIG. 10 /05
will generate a design concept and will drive goal of the 3M identity (Figure 10-05). “3M is
your design. For example, in Figure 10-03, Sub- a global diversified technology company operat- IDENTITY: 3M
stance151 developed a brand image for Baltimore ing in more than 60 countries. Historically, the
Bioneers by identifying what they are chiefly 3M brand identity varied by country and mar- • 3M CORPORATE STAFF
about: “creating a sustainable world, being better ket. Visually, beyond the 3M logo, there was not • CLIENT: 3M
neighbors to other species, healing human com- much to strongly connect the company’s market- • © 3M 2008 ALL RIGHTS RESERVED.
munities, and sending a message of hope to the ing efforts,” the 3M design staff explains. “3M
future generations.” sought a way to maximize marketing resources All points of contact with the 3M
and strengthen brand recognition by establishing brand—advertising, literature,
Designing a visual identity begins with the logo, one company-wide identity—providing one face packaging, websites, tradeshows
which we will explore a bit later in this chapter. and one voice to customers globally.” and even vehicles—use this
Basic key graphic elements for identity design are identity system. The result is a
color, type, and imagery, which will be discussed recognizable design that focuses
in logo design. The font, shape, and forms of the on brand messages and images
logo, visual characteristics of the logo, and color to communicate value. The new
palette will set the framework for the entire visual 3M identity was launched globally
identity. For The Time Hotel, a hotel located in and is used throughout the world
Manhattan’s Times Square with small rooms each by 3M communicators and creative
in a primary color of red, yellow, or blue, Mirko suppliers adapting the message
Ilic´ positioned the square in the “H” as a reference by language, culture, market
to Times Square, and the small red hotel room and customer.
inside the “H” as the international symbol for
hotel (Figure 10-04). All the other applications —3M
for the identity followed from there.

CREATING COHERENCE
ACROSS A VISUAL IDENTITY

OR BRANDING PROGRAM

A program of strategic, unified, and integrated
solutions for a brand or group, including every
graphic design and advertising application for
that brand, results in harmonious brand expe-
riences for its audience. A brand experience is
an individual audience member’s experience
as he or she interacts with a brand—at every

P. 244 Chapter 10

FIG. 10 /06 “The process was to identify existing best prac- without a consistent expression,” explains Abbott
tices based on the thousands of communications Miller. “The primary goal of the new identity was
IDENTITY AND SIGNAGE: MICA tactics created globally and isolate a style and lay- to provide a definitive graphic signature for the
out that was contemporary, effective and could MICA acronym, as the institution fully embraces
• PENTAGRAM, NEW YORK be replicated across the company and around the moniker. And perhaps most importantly, it
• DESIGN: ABBOTT MILLER / PENTAGRAM the world. The solution became a design system will provide MICA with a clear graphic expres-
• PHOTOGRAPHERS: NANCY FROELICH; that began with a white background and applied sion on the national and international stage of
a horizontal montage with a powerful message its activities.”
JAMES SHANKS anchored to it. The montage can vary in color and
• CLIENT: MARYLAND INSTITUTE OF structure but always contains images of people, Considerations for establishing visual and ver-
product and pattern to bring the montage mes- bal coherence are as follows.
CONTEMPORARY ARTS sage to life.”
› Strategy: All agencies, studios, and designers
“MICA is a great art school with a Creating coherence entails weaving a common
rich history and an exciting future,” thread or voice—seeming like one voice, across as well as other creative professionals working on
says Miller. “Our new identity all of an individual’s experiences with a brand—to brand applications should follow the same master
reflects the patina of that history integrate the common visual and verbal language brief and strategy in order to create solutions that
with solid historical letterforms that into all experiences with the brand. It includes are coherent and harmonious. All graphic design
are played off against a modern the coordination or harmonization of all the ele- solutions should be consistent with the strategy
linear framework. This mix of old ments of a visual identity throughout all experi- and values and have a similar brand voice.
and new is a direct reference to ences, as in Figure 10-06, identity and signage by
the school’s two major buildings, Abbott Miller/Pentagram for MICA. “The acro- › Look and Feel: The brand look and feel is a
the Main Building and the Brown nym has made its way into many publications, but
Center—one very new and one very visual “attitude” functioning to create unique
old—that ‘talk’ to each other across visual interest and differentiate a brand from the
the main street of the campus.” competition, expressed through the particulars
In fact, it was the rhythmic lines of the visualization and composition (including
of the Main Building’s Beaux-Art
facade that inspired the rules that
separate the letters of the new
mark, while the last, angled rule
references the slanted glass prows
of the contemporary Brown Center.
Campus buildings also inspired the
colors used in the new identity:
oxidized green of the historic
copper railings and architectural
details, and brown and slate, the
colors of the buildings’ stone
and brick.

—http://blog.pentagram.com/
2007/04/new-work-mica.php

P. 245

VISUAL IDENTITY

color palette; characteristics and qualities of lines, IDENTIT Y COHERENCE: FOUR KEYS
shapes, and textures; typeface(s); images; and any
other visual elements). TO DESIGNING CONNECTIONS

› Clarity: Since the primary purpose of graphic • Color: recognition and brand equity can be built through color.
• Logo: a well-designed logo identifies, unites a company’s offerings, builds equity,
design is to communicate a message to an audi-
ence, creating clarity is one main goal of visual and confers authenticity.
identity design. Clarity aids communication. All • Type: a unique and proprietary typeface builds equity with or without the logo.
language—names, descriptors, taglines, headlines, • Shape: shape characteristics used in the logo and typeface and/or the shape of
titles—should be written with clarity of message
in mind. packaging build visual equity.

For visual/verbal coherence (see “Sidebar: IDENTIT Y USAGE GUIDELINES
Identity Coherence”), common components
across brand applications are: 1 / Handle logo with care and consistency.
• A logo is one of the most important identity assets.
› Strategy • Do not scan a logo or recreate it. Do not type the letterforms.
› Logo • Do not stretch the logo or modify it in any way.
› Tagline • Do not use the logo in conjunction with any other symbol or shape or enclose it
› Look and feel in any shape.
› Color or color palette • Do not use the logo in a sentence or catchphrase.
› Typeface(s)
› Abbreviations and titles 2 / Use specified colors only.
› Signature 3 / Position it on applications as per specifications in the identity manual. Consis-
› Tone of voice tent placement in and across layouts adds recognition.
› Attitude of imagery and copy 4 / Separate the logo or signature from all other text and visuals using the specified
› Descriptive writing area of isolation.
5 / Use specified typeface(s) and cases. Use only the typeface(s) designated by the
Identity Standards identity manual. Usually, there are designations for primary and secondary typefaces,
Graphic designers create standards for the use as well as alternative faces; follow type specifications for web text.
of identity design and logo on all applications to 6 / Use specified signatures to link the logo or signature to descriptors, taglines,
ensure consistency and logo recognition across product name, title, or core attribute.
media. Consistent use guarantees immediate rec- 7 / Limit the number of times a logo appears on any one surface (to one).
ognition in a cluttered commercial environment 8 / To protect a trademark, correctly utilize symbols: ™ and ®.
and ensures integrity of meaning (see “Sidebar:
Identity Usage Guidelines”). An identity stan-
dards manual, also called a graphic standards
manual, sets up guidelines for how the logo is
to be applied to numerous applications—from
business cards to point-of-purchase materials to
vehicles to websites. Color palette, area of isola-
tion (the ideal amount of space surrounding the
logo), brand signatures, and placement are all part
of the specifications. The manual also provides a
range of possibilities and guidelines for the use of
typefaces in various combinations and in various
applications—print, digital, and environmental—
as well as guidelines on choosing weights, size,
numerals, symbols, bullets, and the use of small
caps—for both print and electronic applications.
All designers and company employees who utilize

P. 246 Chapter 10 FIG. 10 /08

FIG. 10 /07 LOGO/DESIGN PROGRAM: NASA

IDENTITY AND IDENTITY MANUAL: • DANNE & BLACKBURN INC. (NOW DEFUNCT)
HUBBARD STREET DANCE • DESIGN DIRECTOR: RICHARD DANNE
CHICAGO • CLIENT: NATIONAL AERONAUTICS AND SPACE

• LISKA + ASSOCIATES, CHICAGO ADMINISTRATION, WASHINGTON, DC
• CREATIVE DIRECTOR: STEVE LISKA • MATERIAL SUPPLIED BY RICHARD DANNE, PARTNER, DANNE
• ART DIRECTOR: KIM FRY
• DESIGNERS: STEVE LISKA, CAROLE MASSE DESIGN, NAPA, CA
• CLIENT: HUBBARD STREET DANCE • A U.S. GOVERNMENT AGENCY DEDICATED TO

CHICAGO AERONAUTICS RESEARCH AND SPACE EXPLORATION,
• © LISKA + ASSOCIATES NASA IS HEADQUARTERED IN WASHINGTON, DC, WITH
TEN INDIVIDUAL CENTERS ACROSS THE NATION.
For over 28 years, Liska has helped
Hubbard Street Dance Chicago The firm of Danne & Blackburn Inc. was
define and evolve their brand from selected to develop and design a unified visual
their origin as a local dance troupe communications program for the agency. The
into an internationally acclaimed acronym NASA was more recognizable than either
performance company with multiple the full name or its previous symbol. Building on
business units. As Hubbard Street this, the NASA logotype was developed. A system
grew in size, scope and recognition, was devised that incorporates the logotype and
we’ve developed its identity and sets standard configurations for the full agency
branding program to reflect the name and the various centers. This program was
level of sophistication, energy, and honored with one of the first Presidential Awards
dynamic audience experience the for Design Excellence.
company delivers.
—Richard Danne, Partner, Danne Design
Each season, Liska designs
materials that present the
recognizable Hubbard brand,
while also showcasing the varied
highlights from the new season.
Our seasonal design sets the
visual and verbal brand direction
for Hubbard’s marketing materials
that are produced by multiple
international presenters.

As part of the program, we’ve
developed online brand guidelines
that are used globally to ensure that
the company projects a consistent
image and message, even when
multiple presenters and vendors are
producing marketing materials.

This design look was applied to
a stationery program, corporate
capabilities brochure, and
marketing folder.

—Liska + Associates

P. 247

VISUAL IDENTITY

the logo need to refer to the standards manual. › Logo for a merger of two brands or groups
Maintaining standards helps guard, maintain,
and build brand equity, as Figure 10-07 and Fig- when companies or groups discard existing logos
ure 10-08 illustrate. in favor of a newly designed one representing the
merger while retaining some equity.
WHAT IS A LOGO?
LOGO CATEGORIES
A logo is the single graphic design application that
will be a part of every other brand design application. A logo can take various forms and combinations;
It is the signifier. It is the identifier. It is the two- it can be a wordmark, lettermark, symbol mark,
second “label” or alarm screaming out which brand combination mark, or emblem.
or company or person or entity you are dealing
with. It carries enormous weight and significance › Logotype (also called wordmark): the name
and is the keystone of any graphic design plan.
is spelled out in unique typography or lettering
A logo is a unique identifying symbol. Stem- (Figures 10-10 through 10-14).
ming from the word logotype, “logo” is the most
commonly accepted term; it is also called a sym- › Lettermark: the logo is created using the ini-
bol, mark, brandmark, identifier, logotype, or
trademark. Providing immediate recognition, a tials of the brand name (Figures 10-15 through
logo represents and embodies everything a brand, 10-18).
group, or individual signifies. (See “Case Study:
Saks Fifth Avenue.”) Most often, a logo is part › Symbol: a pictorial, abstract, or nonrepresen-
of a broader identity design project. (Again, many
use the terms visual identity, brand identity, and tational visual.
branding interchangeably.)
› Pictorial symbol: a representational image, resem-
With one glance, the average person should be
able to recognize and assess a brand or group by bling or referring to an identifiable person, place,
looking at its logo. If you shop for athletic foot- activity, or object (Figures 10-19 through 10-21).
wear, you need only see the logo to know a lot
about the shoe—who manufactures it, the quality, › Abstract symbol: a simple or complex rear-
the price range, and perhaps even which athletes
endorse that brand. Many logos, such as Nike™ rangement, alteration, or distortion of the repre-
and Puma™, are instantly recognizable. Not only sentation of natural appearance, used for stylis-
does the logo serve as a label, it also conveys a mes- tic distinction and/or communication purposes
sage about the brand’s image and quality, one that (Figures 10-22 through 10-25).
is reinforced through marketing, packaging, adver-
tising, the communities who adopt it, customer › Nonrepresentational or nonobjective sym-
relations management, and product performance.
bol: purely invented and not derived from any-
As with an entire visual identity, there are vari- thing visually perceived; it does not relate to any
ous purposes for logo projects: object in nature. It does not literally represent a
person, place, or thing (Figures 10-26 through
› Logo for a new entity 10-29).
› Redesign of an existing logo for revital-
› Character icon: a character trademark that
ization, to stay relevant in the marketplace
(Figure 10-09) embodies the personality of a brand, cause, or
group, such as The Maytag Repairman™ (May-
› Redesign of an existing logo to redefine an tag washers and dryers), Energizer Bunny™
(Eveready Energizer batteries), Aflac Duck™
existing brand, aiming at a different audience, or (Aflac Insurance), Rosie the Riveter (recruitment
to reposition the brand for a new audience of women into the workforce during WWII)
(Figure 10-30), and Smokey the Bear™ (fire pre-
vention). One of the purposes of character icons,
such as Pillsbury’s Doughboy™ or Miss Chiquita
Worldwide Personality™ (see Figure 9-01) is to
create a “face” for a product, service, or group.

› Combination mark: a combination of words

and symbols (Figures 10-31 through 10-37).

› Emblem: a combination of words and visu-

als that are always seen together, never separated
(Figures 10-38 through 10-45).

P. 248 Chapter 10

FIG. 10 /09

IDENTIFICATION AND BRANDING: THE
AMERICAN INSTITUTE OF GRAPHIC ARTS
(AIGA)

• SIGNATURE AND SYMBOL: AIGA—NATIONAL
• CROSBY ASSOCIATES, CHICAGO
• CLIENT: AMERICAN INSTITUTE OF GRAPHIC ARTS (AIGA)
• SYMBOL AND SIGNATURE, SIGNAGE
• CREATIVE DIRECTOR/ART DIRECTOR/DESIGNER: BART

CROSBY
• IDENTITY STANDARDS
• CREATIVE DIRECTOR/ART DIRECTOR:

BART CROSBY
• DESIGNER: MALGORZATA (GOSIA) SOBUS

The American Institute of Graphic Arts (AIGA)
experienced substantial growth during the
last decade. While it had historic brand
equity, Crosby Associates was engaged by
this association of designers and branding
professionals to strengthen its logo and develop
identity guidelines which would assure visual
consistency when many independent designers
were creating materials that personified the
brand. The result was a quantum increase in
awareness of AIGA without increasing products
or services.

—Crosby Associates

P. 249

VISUAL IDENTITY

LOGO CATEGORIES: LOGOTYPE

FIG. 10 /10

LOGO: RESTAURANTE BRASIL

• DESIGN/CUSTOM TYPE: MARTIN HOLLOWAY GRAPHIC DESIGN, PITTSTOWN, NJ
• CLIENT: RESTAURANTE BRASIL, MARTINSVILLE, NJ

FIG. 10/10 FIG. 10 /11

LOGO: SUNPARK

• GEORGE TSCHERNY, INC., NEW YORK
• CLIENT: SUNPARK

SUNPARK is a company offering parking facilities, mostly adjacent to airports.
Hence the “P” in a red circle, which is the universal symbol for parking.

—George Tscherny

FIG. 10/11 FIG. 10 /12

LOGO: DWELL

• MIKE PERRY

FIG. 10/12 FIG. 10 /13

LOGO: THE BEVERLY HILLS HOTEL

• REGINA RUBINO / IMAGE: GLOBAL VISION, SANTA MONICA
• CREATIVE DIRECTOR/DESIGN DIRECTOR: REGINA RUBINO
• DESIGNERS: JAVIER LEGUIZAMO, CLAUDIA PANDJI
• CLIENT: THE BEVERLY HILLS HOTEL

FIG. 10 /14

LOGO: NEXTLEVEL

• CROSBY ASSOCIATES, CHICAGO
• CLIENT: NEXT LEVEL SYSTEMS, INC.
• SIGNATURE
• CREATIVE DIRECTOR/ART DIRECTOR/DESIGNER: BART CROSBY

FIG. 10/13

FIG. 10/14

P. 250 Chapter 10 LOGO CATEGORIES: LETTERMARK
FIG. 10 /15
FIG. 10 /15
FIG. 10 /17 FIG. 10 /18
LOGO: ELECTRICAL DIGEST
FIG. 10 /16
• BERNHARDT FUDYMA DESIGN GROUP,
NEW YORK LOGO CATEGORIES: PICTORIAL SYMBOLS

• DESIGNER: CRAIG BERNHARDT FIG. 10 /20
• CLIENT: ELECTRICAL DIGEST FIG. 10 /21

FIG. 10 /16

SYMBOL: APPLICATION ON METERS

• CROSBY ASSOCIATES, CHICAGO
• CREATIVE DIRECTOR/ART DIRECTOR/

DESIGNER: BART CROSBY
• CLIENT: BADGERMETER INC.

FIG. 10 /17

LOGO: TIHANY DESIGN

• MIRKO ILIC´ CORP., NEW YORK

FIG. 10 /18

LOGO: ZORAN DJINDJIC FUND

• MIRKO ILIC´ CORP., NEW YORK

FIG. 10 /19

LOGO: LETTER GRAFIX

• RED FLANNEL, FREEHOLD, NJ
• CD/DESIGNER/ILLUSTRATOR: JIM

REDZINAK

FIG. 10 /20

LOGO: THE ORPHAN SOCIETY OF
AMERICA

• MIRKO ILIC´ CORP., NEW YORK

FIG. 10 /21

LOGO: ACORN: A COMMUNITY
RESOURCE NETWORK

• HARP & COMPANY GRAPHIC DESIGN,
HANOVER, NH

• FOR MORE INFORMATION FROM HARP &
COMPANY, PLEASE VISIT .

FIG. 10 /19

P. 251

VISUAL IDENTITY

LOGO CATEGORIES: ABSTRACT SYMBOLS FIG. 10 /22

LOGO: OCEAN COUNTY COLLEGE

• RED FLANNEL, FREEHOLD, NJ
• CREATIVE DIRECTOR: JIM REDZINAK
• DESIGNER/ILLUSTRATOR: MICHELE

KALTHOFF
• CLIENT: OCEAN COUNTY COLLEGE

FIG. 10/22 FIG. 10 /23 FIG. 10 /23

IDENTITY: FIRMENICH EXPERTS IN
CITRUS™

• LAVA DOME CREATIVE, BOUND BROOK, NJ
• CREATIVE DIRECTOR/DESIGNER: MICHAEL

SICKINGER
• CLIENT: FIRMENICH INC.
• © FIRMENICH INC.

FIG. 10 /24

LOGO AND PRELIMINARY LOGOS:
IASIAWORKS

• GEE + CHUNG DESIGN, SAN FRANCISCO
• CREATIVE DIRECTOR/ART DIRECTOR: EARL

GEE
• DESIGNERS: EARL GEE, FANI CHUNG
• ILLUSTRATOR: EARL GEE

An Asian-focused web hosting
company combines a classic Asian
motif with an integrated circuit,
conveying connection, integration,
and the linking of cultures through
technology.

—Earl Gee (Please see Chapter
12 for the entire iAsiaWorks
program.)

FIG. 10 /24 FIG. 10 /25
FIG. 10 /25
LOGO: KHAWACHEN, PIONEERS OF
TIBETAN RUGS

• HARP AND COMPANY GRAPHIC DESIGN,
HANOVER, NH

• CLIENT: KHAWACHEN

Done for recently opened stores in
Hanover, New Hampshire; Lhasa,
Tibet; and Manchester Center,
Vermont. The black mountain shape
is meant to be suggestive of Tibetan
calligraphy, while also symbolizing
The Land of Snows (the meaning
of Khawachen). The stylized clouds
are reminiscent of cloud motifs that
commonly appear in Tibetan rugs.

—Doug Harp

P. 252 Chapter 10

FIG. 10 /26 LOGO CATEGORIES: NONOBJECTIVE SYMBOLS

LOGO: MVP ARCHITECTURE

• GARDNER DESIGN, WICHITA
• CREATIVE DIRECTOR: BILL GARDNER
• ART DIRECTOR: LUKE BOTT

FIG. 10 /27 FIG. 10 /26 FIG. 10 /27

LOGO: ART CENTER COLLEGE OF
DESIGN ALUMNI COUNCIL

• GEE + CHUNG DESIGN, SAN FRANCISCO
• CREATIVE DIRECTOR/ART DIRECTOR/

DESIGNER/ILLUSTRATOR: EARL GEE

An alumni council of a design
school known for its orange dot
symbol forms a circle of creative
individuals linked by a common
experience, sense of connection,
community, support, and unity.

—Earl Gee

FIG. 10 /28 FIG. 10 /28 FIG. 10 /29
LOGO CATEGORIES: CHARACTER ICON
LOGO: HUNTER CONSULTING

• RED FLANNEL, FREEHOLD, NJ
• CREATIVE DIRECTOR/DESIGNER/

ILLUSTRATOR: JIM REDZINAK
• CLIENT: HUNTER CONSULTING

FIG. 10 /29

SYMBOL

• SEGURA INC., CHICAGO
• CLIENT: LIGHTFLOW

FIG. 10 /30

ADVERTISEMENT: WOMEN IN
WAR JOBS—ROSIE THE RIVETER
(1942–1945)

• SPONSORS: OFFICE OF WAR INFORMATION,
WAR MANPOWER COMMISSION

• VOLUNTEER AGENCY: J. WALTER
THOMPSON

FIG. 10 /30